Today, September 22nd 2021, marks the ten-year anniversary of the original release of Dark Souls in Japan. So not only is September 22nd the birthday of both Bilbo and Frodo Baggins, but I guess you could call it Dark Souls Day as well.
Yes, somehow it’s been ten full years since Dark Souls first captured our imaginations (and made us smash our controllers) with its intricate gameplay, epic boss fights and unique dark fantasy world. It would end up being (unquestionably) the most influential video game of the last decade, with many imitators in the “Souls-like” genre (none of which are a patch on the real deal) being made in its wake, and games in just about every other genre adopting many of its elements and mechanics.
Okay, so technically Demon’s Souls started the series. Though while Demon’s Souls may be a classic in its own right, I think it’s safe to say it was with 2011’s Dark Souls that the series really took off and conquered the video game world.
Unlike so many games from the late 2000s/early 2010s, Dark Souls has aged beautifully, and its impact and influence has remained intact in a way that’s usually reserved for Nintendo’s best titles. I mean, who the hell talks about Bioshock anymore? Good riddance, I say.
Ah, but Dark Souls. It really is one of the medium’s modern classics. Although now that it’s ten-years old, do we take out the “modern” and simply categorize it as a “classic?”
At any rate, that’s what Dark Souls is, a classic! Its sequels and follow-ups are also stellar (though BloodBorne is probably the only one whose reputation matches the original). The series was a dominating force in gaming in the 2010s, and it seems its influence will continue well beyond that.
Series creator Hidetaka Miyazaki’s next game, Elden Ring, is one of the most anticipated games on the horizon. But it certainly has a lot to live up to if it hopes to have the same impact as its 2011 predecessor. A hell of an act to follow.
These days, we kind of take for granted the Mario games that don’t fit into the “main” Super Mario series. Unless it’s the next big 3D Mario adventure, we tend to refer to the games as “spin-offs” and don’t hold them in the same light as the “proper” Mario games.
The thing is, Mario was always Nintendo’s renaissance man. Shigeru Miyamoto designed the character with the intent that he could be thrown into any type of game, in a similar vein to classic cartoon characters like Mickey Mouse, Bugs Bunny and (most specifically) Popeye the Sailor Man. It’s not as though Mario was created with a definitive story and some big universe of characters already planned out ahead of time. Mario appeared in a number of games before Princess Peach, Bowser and the entire Mushroom Kingdom came into existence in Super Mario Bros. That was Mario’s breakout role, sure, but it wasn’t exactly where he got his start. Although it makes sense that Super Mario Bros. would become the basis of what we all consider to be “main” Mario games, as time has gone on it seems people have diminished the allure of the “other” Mario games as an unfortunate side effect of this.
That wasn’t the case back in 1990, when Mario could suddenly don a lab coat and head mirror, call himself a doctor, and star in a falling block puzzle game, and it would still create an iconic game in its own right.
Dr. Mario was the first such puzzle game in the Mario franchise, which would slowly become its own series, and open the door for puzzle games starring other Mario franchise characters like Yoshi’s Cookie and Wario’s Woods. While some of these later puzzle games were improvements, and subsequent Dr. Mario sequels (such as the underrated Nintendo 64 entry) built on the formula, the original NES release is still a charming and addictive puzzle game.
The goal of Dr. Mario is to eliminate a screen of all of its viruses. These viruses come in three colors: red, blue and yellow. You eliminate these viruses by matching them up with vitamins of corresponding colors. But there are a few twists to keep things interesting.
The first thing to note is that the vitamins have two halves, which can be different colors, so you’ll want to pay extra attention when the viruses are close together. You have to match four objects of the same color in order to eliminate a virus. Each half of a vitamin counts as one object, and a virus counts as another. So you could potentially have three viruses of the same color stacked on top of each other, meaning you’d only have to put one similarly colored half of a vitamin on top of them to eliminate them. You can even eliminate the viruses by placing the vitamins against them horizontally, but it’s much less common.
Additionally, if the vitamins involved in an elimination feature halves of different colors, those halves will remain and fall straight down until they either land on a virus or the bottom of the screen. This gives you an added level of strategy for any nearby viruses, but it also risks filling up the screen with piles of vitamins. If the vitamins stack up to the top of the screen and Mario can’t throw any more, you lose the round.
It’s a nice twist on the Tetris formula, one that remains fun even today. Better still, the game features a two-player competitive mode, where each player aims to eliminate their screen of viruses before the other. And despite the technical limitations of the game (even by NES standards) it makes the best with what it has. The graphics are cute and fun (I especially like how part of the screen is a microscope held up to the viruses, just so you can see them dancing around in all their glory), and the game’s two selectable music tracks, Chill and Fever, are infectiously catchy, and are all too easy to listen to on repeat as you play round after round.
Unfortunately, if you don’t have a second player at the ready to tackle the aforementioned two-player mode, Dr. Mario’s gameplay can only go so far. The lack of any additional modes really stands out in retrospect, and the fact that – unlike Tetris – each round has a set goal to reach means beating your own high score is kind of an afterthought.
Dr. Mario is still fun, no doubt. But it isn’t particularly deep. It’s at its best when two players are onboard, and even in that area it’s been bettered (Dr. Mario 64 turned the formula into a four-player party game. And now I really wish Nintendo would re-release that game or make a proper sequel to further add to the proceedings).
Its limitations are certainly more apparent today, but Dr. Mario is still worth playing. Perhaps more importantly, it represents a time when gamers were a bit wiser, and could accept Mario in any role and not question the merit in its potential.
Today, August 23rd 2021, marks the 30th anniversary of the Super Nintendo Entertainment System’s release in North America. This also means it’s the 30th anniversary of Super Mario World’s release in North America, which I’ll happily say is still the best launch game ever made.
There are a few classic video game consoles from yesteryear: the original NES had perhaps a bigger impact than any other, and was the video game console of the 80s. The Nintendo 64 pioneered 3D gaming. The Sony Playstation, as well as the Sega Genesis, Saturn and Dreamcast, also opened new doors to gaming. But it’s the Super Nintendo Entertainment System that’s the timeless masterpiece of a video game console.
With all due respect to the aforementioned consoles, they have aged in one way or another (well, maybe not the Genesis, but its library wasn’t as deep as the SNES’). That’s not to say that they don’t have their share of timeless games, because they do. But when revisiting those consoles, it is apparent that they came from specific points in the past (as much as I love the N64, and perhaps sometimes I’m too harsh on it, it can sometimes be painfully obvious that it was experimenting with 3D gaming). But the SNES is the one that still stands tall even when compared to today’s consoles. It was that perfect moment in gaming history when developers had mastered the craft of everything that came before. And while it is a good thing that gaming entered new territories afterwards, suffice to say that entering the third-dimension kind of started things over. And in some ways, games still have yet to catch up to where they were (the SNES never had things like microtransactions get in the way of more honest game design, after all).
Just think of the library of classics the SNES had: Super Mario World, The Legend of Zelda: A Link to the Past, the Donkey Kong Country trilogy, Yoshi’s Island, Chrono Trigger, Super Mario RPG, Super Mario Kart, Kirby Super Star, Kirby’s Dream Land 3, EarthBound, the first three Mega Man X games, Mega Man 7, Tetris Attack, the Street Fighter 2 ports, Secret of Mana, and more still!
There were just so many classics on the console, and they remain every bit as fun today as they were then (exception being Star Fox. In a bit of role reversal, it’s the N64 installment in that series that has proven timeless). You also had your lesser known gems (Demon’s Crest), and stronger third-party support than any Nintendo console until the Switch (although the Wii actually had stronger third-party support than it gets credit for).
A classic lineup of games unlike any that has been seen before or since, the Super Nintendo is truly one of the greats. It’s hard to believe it’s been thirty years since the system made its way stateside (I was just a baby at the time!). But you wouldn’t know it by playing the many classics it produced.
There are a few ways one could acknowledge what constitutes the “best” games on a console, such as its biggest milestone releases or its most influential titles. Or you could go with what games were best in their day. In the end, I decided to go with my usual method of which games are simply the most fun to play today.
Because of this reason, you may see some notable omissions. Case in point: I won’t be including Goldeneye 007. Even though that title was a landmark for first-person shooters (especially on home consoles) and multiplayer games in general, the games it inspired definitely improved on its foundations, which leaves Goldeneye 007 to feel kind of clunky by today’s standards.
But that doesn’t mean that every N64 great is a thing of the past, and the Nintendo 64 games that do hold up, do so pretty swimmingly. The following ten games are the ones I would recommend if someone wanted to play a great game on the N64 today. Not recommending games based on historical purposes to someone who didn’t grow up with the N64, and not selections for someone who did grow up with the N64 looking for some nostalgia. These are games I would recommend simply as great games to play, that just happen to be from the Nintendo 64’s library.
Oh, and to save myself the hassle of ranking this list, I didn’t! I just listed all ten games in alphabetical order and I recommend them as is! Some are colorful platforming romps, some are epic adventures, and some are full of the multiplayer goodness the N64 made famous!
Before we get to the top 10 proper, however, here are some honorable mentions:
Diddy Kong Racing: A Mario Kart-style racing game combined with a Super Mario 64-style adventure! That’s one amazing combination that inspired many other kart racers to follow. Not to mention it introduced us to both Banjo and Conker! It also boasts great multiplayer that is somewhat hindered by the fact that there’s no music when playing with more than two players. To this day, people are waiting for Mario Kart to emulate its adventure mode.
Donkey Kong 64: The biggest Nintendo 64 game in the literal sense of the term. DK64, while still a fun collect-a-thon platformer, is sometimes too big for its own good. With five playable characters, each with their own collectibles, DK64 certainly has variety in gameplay and a lot of things to do. Though for those same reasons, it can become a little tedious having to switch back and forth between characters. But in typical Rare fashion, DK64 also includes a host of multiplayer modes at your disposal. Why on Earth did the idea of single-player adventure games having such great multiplayer options fall out of style?
Mario Kart 64: A beloved, nostalgic favorite today, but Mario Kart 64 actually wasn’t so fondly received critically in its time, being considered a disappointing follow-up to the SNES original upon its release. It admittedly isn’t the best Mario Kart: There are only a few memorable racetracks, the graphics are ugly, and like Diddy Kong Racing, there’s no music when playing with three or four people. But the core gameplay holds up, and Mario Kart 64 has some of the best balloon battle courses in the series (Block Fort!). A fun time, but not the go-to Mario Kart experience today, nor the best example of Mario multiplayer on the N64.
Mario Tennis: The origins of Waluigi, a character destined to… fill out the roster in Mario spinoffs (What can I say? Not every character addition is going to end up having the impact of Yoshi). Mario Golf is also fun, but it’s Mario Tennis that I think is the better go-to Mario sports title of yesteryear. A solid tennis game with a Mario twist. Oh, and while it may have debuted Waluigi, it also served as the last time we saw Donkey Kong Jr., who’s been MIA ever since.
Super Smash Bros.: Ah, the good ol’ days. Back when Super Smash Bros. was actually about Nintendo characters. I miss that. Sure, the N64 original may not have the same depth and polish of later entries in the series, but Super Smash Bros. remains a fun multiplayer romp. And it’s fun just to revisit and see the series in its purest state, before its Nintendo-ness was diluted and it catered too heavily to the Esports crowd. Just pure Nintendo fun.
And now, finally, the Top 10 Nintendo 64 Games to Play Today!
Let’s be frank: The N64 was Rare’s console. While many of Nintendo’s key franchises made appearances, they could be pretty spread out. In between Nintendo’s big releases, Rare was pumping out one game after another to keep it all afloat. But Rare’s N64 output didn’t just fill in the gaps, they released a number of genuine winners during the era, some of which even outshined Nintendo’s own efforts.
Though the Donkey Kong Country trilogy on the Super Nintendo and Goldeneye 007 were Rare’s biggest sellers, it was Banjo-Kazooie who proved to be Rare’s homegrown hero(es). Simply the most “Rare” of all of Rare’s creations.
A 3D platformer modeled after none other than Super Mario 64, Banjo-Kazooie replaced Nintendo’s iconic plumber with Banjo the bear from Diddy Kong Racing, and the bird Kazooie who lived in his backpack. Replacing Mario’s coins were music notes, and in place of the elusive Power Stars we had Jiggies; magical, golden jigsaw pieces.
Banjo-Kazooie isn’t just Super Mario 64 with a new coat of paint though. Whereas Mario had all of his moves right out of the gate, Banjo and Kazooie learn different abilities as they go, which gave each subsequent level new means for our titular duo to obtain Jiggies. There’s the witch doctor, Mumbo Jumbo, who could transform Banjo and Kazooie into various different forms. There are mini-games abound. And to change up video game traditions, for the game’s finale, Banjo and Kazooie find themselves in the middle of a board game/quiz show (though we do also get a proper final boss, proving that sometimes you can have your cake and eat it too).
All of this, in addition to Banjo-Kazooie’s unique personality (those garbled jibberish voices are just wonderful), meant Banjo-Kazooie was no mere copycat. It took what Super Mario 64 started, and made it entirely its own.
It may seem like a smaller adventure by today’s standards, there are still a few camera issues, and some Jiggies are unceremoniously just lying around, but make no mistake, Banjo-Kazooie is still as fun as it ever was.
While Banjo-Kazooie took a page from Super Mario 64, its sequel, Banjo-Tooie, was like a combination of Mario’s N64 outing and The Legend of Zelda: Ocarina of Time. Tooie is a much bigger game than Kazooie, but seemingly learning from Donkey Kong 64, it never feels too bloated. Late N64 graphics aside, Banjo-Tooie still holds up over two decades later.
Though Kazooie’s name is sadly no longer in the title, she may be even more present here than she was in the first game, as Banjo and Kazooie can now go their separate ways and claim their own Jiggies. There are now more prominent boss fights in every stage. There are first-person shooter segments that hold up better than the actual first-person shooters on the N64. You can now play as Mumbo Jumbo. The level themes are more unique (the fire world and ice world are one and the same, there’s a dilapidated theme park, and a dinosaur world). And there’s now a host of multiplayer modes to enjoy!
On the downside, there are eight stages here compared to Kazooie’s nine (and ten less Jiggies as a result). One of these stages, Grunty Industries, is pointlessly convoluted. And Mumbo should really have more to do when you play as him. These are ultimately small prices to pay, considering just how good Banjo-Tooie is otherwise.
Twenty-one years on, fans still debate which is the superior game between Banjo-Kazooie and Banjo-Tooie. While the original seems to have the slight majority vote, I think I’m on the side of Banjo-Tooie. Despite the aforementioned reduction in stage numbers, I feel like Tooie otherwise builds on and improves just about everything from the original. We may all still be waiting for a third Banjo-Kazooie entry (a real third entry), but Banjo-Tooie was such a hefty adventure in its day, and so well executed, that it feels right at home among today’s games.
3: Conker’s Bad Fur Day
Oh look, it’s Rare again! But of course it’s Rare again. They carried the N64!
Released in 2001 – the same year the GameCube would later debut – Conker’s Bad Fur Day was one of the N64’s last hoorahs (along with a few other games on this list). Though it was planned to be released much, much sooner in the console’s lifespan, under a very different guise.
Originally envisioned as “Twelve Tales” and “Conker 64,” the game was to be a cute, cartoony platformer in a similar vein to Banjo-Kazooie and Super Mario 64. But a troublesome production meant Conker kept getting delayed, to the point that, after Rare released a series of colorful platformers on the N64, interest in Conker waned. So designer Chris Seavor took over the project and gave Conker a complete overhaul.
Raunchy, violent, and riddled with swear words and poop jokes, Conker’s Bad Fur Day seemed to both address the concerns of “too many kids’ games” on the N64 while simultaneously making fun of the people who made those complaints by going to such extremes. Though you have to see the irony in how, these days, people crave more colorful, kid-friendly platformers. Different times.
Some aspects of Conker’s former life remained: the game was still a story-driven platformer, as Twelve Tales was always planned to be. It realized the vision of the original game to feel like an interactive cartoon (the animations and lip syncing were so far ahead of their time, they still rank as some of the medium’s best). And true to Conker’s humble origins in Diddy Kong Racing, Conker himself never actually swears. It’s everyone else who’s foulmouthed.
More important than the “adult” humor, however, is how the gameplay is always changing whenever Conker finds himself somewhere new. Sometimes it’s a platformer, sometimes it’s a shooter, sometimes it’s a racer. Conker’s Bad Fur Day is that rare kind of game that’s always finding something new. And in typical Rare fashion, Conker’s Bad Fur Day features seven different multiplayer modes. No one overdelivered like Rare did back in the day.
Conker’s Bad Fur Day isn’t perfect, however. Like so many N64 games, the camera and some of the controls can get a little iffy, not all of the movie parodies work (ugh, The Matrix), and not all the multiplayer modes are equals. But Conker’s Bad Fur Day is as unique today as it was twenty years ago.
4: Kirby 64: The Crystal Shards
Masahiro Sakurai may have created Kirby, but I think Shinichi Shimomura – Nintendo’s most elusive, mysterious game designer – best understands how to represent the character and his world. Sadly, Shimomura only directed three Kirby games before seemingly vanishing: Kirby’s Dreamland 2, Kirby’s Dreamland 3, and Kirby 64: The Crystal Shards.
Though Kirby 64 foregoes the Animal Friends of Dreamlands 2 and 3, it (almost) makes up for it with a new twist on Kirby’s trademark copy abilities: Kirby can now combine two powers to make new ones! Even though Kirby 64 treads a lot of familiar ground elsewhere, the ability to combine powers keeps things fresh and exciting. Sometimes you may realize you need to revisit a stage with a different power combination in order to obtain one of the titular crystal shards.
While Sakurai’s Kirby games later adopted something of an of edge, Shimomura’s Kirby titles really doubled down on the cuteness of the series (sans the final bosses, giving them an appropriate contrast to everything else). There’s a softness to the visuals that have held up incredibly well since the game’s 2000 release, the music is energetic and infectious (in that very specific, late-90s/early-2000s Kirby way). It’s just an all-around comforting video game.
Some may lament that Kirby 64 is a pretty easy game. But not every game needs to be Dark Souls. Sometimes it’s nice to just be able to experience an adventure, and Kirby 64 provides just that. It takes a simple, straightforward platforming romp and turns it into something memorable with its little touches. Along with the aforementioned visuals, music and personality, Kirby 64 also has some fun level themes (the snow world is also the robot-themed world!), and the levels even manage to tell their own little stories as you progress through them, which was pretty unique at the time. Oh, and there are moments where the player takes control of King Dedede. That’s always a huge bonus.
To top it all off, Kirby 64 even features a multiplayer mode. Though it may not be as gloriously excessive as those from Rare, Kirby 64’s multiplayer provides three mini-games that are addictively fun with friends. One of these mini-games, Checkerboard Chase, even feels like a precursor to today’s wildly popular battle royal genre.
I still hope we one day see the combined copy abilities return to the series in their full glory (Kirby Star Allies featured a watered down version of it). But if Kirby 64 is the only game to feature them, at least it’s an easy game to get sucked back into even today.
5: The Legend of Zelda: Majora’s Mask
For all its acclaim, Ocarina of Time is actually a pretty conservative game, as it’s structurally following A Link to the Past nearly beat for beat, albeit in a 3D environment. Ocarina’s follow-up, Majora’s Mask, is conversely one of the most “different” games in the entire Zelda canon.
Using many of the same assets as Ocarina, Majora’s Mask repurposes them to craft a new world and adventure that’s uniquely its own. The Happy Mask Salesman, for example, was merely a shopkeeper in Ocarina. But here in Majora’s Mask he’s a key player in the story. The same goes for the Skull Kid, who has been promoted to tragic antagonist.
Similarly, while Ocarina of Time featured masks as items for the occasional sidequest (or just for the giggles), here they play a much larger role in gameplay. Three masks in particular completely change things up, allowing series protagonist Link to transform into different species from the series: a plant-like Deku, a powerful Goron and an aquatic Zora. These transformations only add that much more variety and depth to Majora’s Mask, and it’s kind of weird how Nintendo hasn’t revisited a similar idea since.
This is all before we even get into the game’s time travel motif, which sees Link travel between the same three days over and over again in order to prevent the moon from crashing into the land of Termina. There are different things to do, different people to talk to, and different events occurring between the three days, so Link will have to use that trusty Ocarina of Time to revisit and relive certain situations in order to complete the adventure (insert mandatory Groundhog Day comparison here).
Admittedly, the time travel setup isn’t for everyone, and having to redo an entire game-day over because you may have missed one thing can grow a little tedious. It’s also one of the shorter Zelda titles, with only four dungeons to complete before you unlock the final area of the game. So it may be easy at times to see why Ocarina of Time’s more straightforward, more epic adventure may continue to steal the spotlight.
Still, Majora’s Mask remains one of Nintendo’s most beloved games, and one of the most acclaimed video games of all time, for a reason. It’s not only different from any other Zelda title, it’s unlike anything else Nintendo has ever made. With a pedigree like The Legend of Zelda’s, it may be easy to hold things so sacred that it fears to branch out. Yet Majora’s Mask – coming off the heels of Ocarina of Time, no less – decided to take the series in a daring new direction. One that still holds up to this day.
6: The Legend of Zelda: Ocarina of Time
Yes, I may have just said Ocarina of Time is a conservative game, but when it’s sticking to a formula as great as A Link to the Past’s, you can’t complain too much.
For a good while, Ocarina of Time was almost unanimously held sacrosanct as the “greatest video game of all time.” While in more recent years, that debate has grown more open-minded – sometimes for the good (Super Mario Galaxy), sometimes for the not too good (The Last of Us) – for its time, it’s easy to see why Ocarina of Time garnered such praise. A Link to the Past and Super Mario 64 were probably the most acclaimed games up to that point, and Ocarina of Time was essentially a combination of the two. The “best of both worlds” if you will.
Following in its SNES predecessor’s footsteps, Ocarina of Time sees Link partake on an epic adventure to save the land of Hyrule from the evil Ganondorf. Link will travel the land, meet new people (and species), and brave dark and dreary dungeons to become the hero Hyrule needs. Ocarina perfectly translated the Zelda series’ combination of action, exploration and puzzle solving into a 3D environment. And its lock-on combat was a revelation for 3D games.
Sure, the graphics definitely show their age, but the gameplay of Ocarina of Time hasn’t really lost a step. While most series may show obvious improvements with each subsequent entry, Ocarina of Time had refined its gameplay so strongly in 1998 that it still feels surprisingly close to the Zelda titles that have arrived since.
On the downside of things (and this is a hugely unpopular opinion on my part), the soundtrack to Ocarina of Time is one of the weaker ones in the Zelda canon. I know, we all love the obvious ones like Saria’s Song/Lost Woods and the Song of Storms, but they’re in the minority of what is largely an adequate soundtrack for the time. It didn’t even feature the main Legend of Zelda theme until the 3DS remake! And even in Zelda, that N64 camerawork can still be a bit of a problem.
So maybe Ocarina of Time isn’t absolutely flawless, as we once so readily accepted. But it’s still an unforgettable adventure in gaming. One that still feels deep and rewarding even by the standards of today.
7: Mario Party 3
Not every great game has to be some grand adventure. Sometimes, fun is all you need to stand the test of time. And that’s where Mario Party 3 comes into this list: it may not be the deepest game here, and it even contains some questionable design choices. But damn it all if Mario Party 3 isn’t fun!
We’re talking about a very specific type of fun here. That unique type of fun that Nintendo seems to have mastered (but that they’ll never fully admit to): the kind of multiplayer game you play with your friends for some good times, only for it to slowly unravel and make all the players involved out for each other’s blood by the end of it all. You can get some of this “friends turned enemies” fun from Mario Kart and Super Smash Bros. But Mario Party personifies it.
From friends stealing each other’s stars and coins, to screwing each other over when they’re supposed to be teamed up in mini-games, Mario Party is designed to make you hate your friends! Okay, maybe not literally, but imagine how Dark Souls makes you feel towards its bosses. Mario Party makes you feel that towards your friends! It’s all in good fun, of course.
Honestly, you can go ahead and lump Mario Party 1 and 2 here as well and call it a tie. But I think that, being released in 2001 at the tail-end of the N64 (it was the last Nintendo-published title on the system), Mario Party 3 had refined the formula a bit. Each game board has some fun gimmicks, the mini-games are more plentiful and varied, and you have more items than ever to sabotage your friends with. Perhaps best of all, Mario Party 3 is the only entry in the series to include “Duel Mode,” which sees two players travel across the board trying to deplete each other’s hit points with the aide of partners. These partners are Mario series enemies that could be placed both in front of (attack) and behind (defense) the player, making Duel Mode something like Mario Party meets Paper Mario. Why Nintendo hasn’t revisited the Duel Mode concept in the many, many Mario Parties since, I’ll never know.
Yes, many of Mario Party’s elements are based on luck, not skill. In just about any other type of game, that would be a huge drawback. But Mario Party is all about chaotic fun with friends. The first two Mario Party entries also provide a great time, but the third is where the series really hit its high point (making it all the weirder that Nintendo has only ever re-released the second entry). On a console known for its madcap four-person multiplayer, Mario Party 3 reigns king.
8: Paper Mario
Yet another late-game entry in the N64’s library, Paper Mario was released in 2001 after years of delays in production.
Originally conceived as a sequel to Super Mario RPG, the game that would become Paper Mario had to make countless changes early on, as Square retained the rights to the original elements of Super Mario RPG. With Square moving away from Nintendo at the time, the big N turned to one of its own studios, Intelligent Systems, to pick up the pieces.
Paper Mario ended up being its own kind of Mario RPG. Mario is equipped with hammer and jump attacks, is joined on his adventure by a parade of cute partners (each inspired by different enemies from the series’ history), and gains new bonuses and abilities based on the badges he wears. These make the battles more simplified than those of Super Mario RPG, but because the game retains its spiritual predecessor’s action commands, they’re no less fun.
Bowser has stolen a magical artifact, the Star Rod, to grant his every wish. The King Koopa has granted himself invincibility, as well as absconded with Princess Peach’s entire castle, and taking it into the sky. So Mario is off on an adventure to rescue seven Star Spirits (held captive by Bowser’s forces) so they can help him undo Bowser’s magic and save the Mushroom Kingdom. It’s every bit as epic as Link’s Nintendo 64 adventures.
Of course, we have to talk about the visuals. It is called Paper Mario for a reason. Originally planned to use SNES-style sprites (prototype screenshots even showed Yoshi ripped directly from Super Mario World), this quickly evolved into making the characters literally flat amidst a 3D environment. It’s kind of fitting, really. Super Mario RPG pushed for 3D at the tail-end of the two-dimensional Super Nintendo, and Paper Mario, towards the end of the Nintendo 64, did the opposite for the 3D console. And while Paper Mario’s soundtrack could never hope to reach the heights of Super Mario RPG’s (still Yoko Shimomura’s best work by far), it still created a fun, fittingly cute soundtrack that ranks among the best on the N64.
Whereas the SNES was full of great RPGs, Paper Mario was really the only notable one to speak of for the N64. But man, is it ever a good one! Its engaging battle system, epic storyline, and insurmountable charm ascend Paper Mario into being one of the genre’s true greats.
Paper Mario’s distinct art direction means it hasn’t really aged visually, and there’s no fussy camera to wrestle with, either. And the gameplay is every bit as fun today as it was twenty years ago. Of all the games on this list, Paper Mario may just be the most timeless.
9: Star Fox 64
Star Fox is something of the one-hit wonder of Nintendo’s franchises. Some of its installments sit at the edge of greatness (others a bit further away), but only one managed to claim it: Star Fox 64.
In a bit of a turnaround from the norm, Star Fox is that rare series (the only series?) where the SNES entry is the headache-inducing eyesore, while the N64 follow-up is a timeless classic.
Originally released in 1997, Star Fox 64 is a remake of the SNES original story-wise. But its gameplay is a refinement of the rail-shooter that builds on every aspect of its predecessor. Such a refinement, in fact, that it has rarely been approached in the genre in all the years since.
Players take control of Fox McCloud, as he pilots his flying Arwing, the Landmaster Tank and (in one level) the underwater Blue-Marine. He’s accompanied by his crewmates: Grizzled veteran Peppy Hare, inventive rookie Slippy Toad, and obnoxious jerk Falco Lombardi. Fox must blast his way through the armies of the evil Andross to save the Lylat System.
Simply destroying the bad guys and making it to the end of a stage aren’t all there is to Star Fox 64, however. Certain actions will unlock branching pathways and new routes through the game. Some alternate routes are easier to find, others not so much. You’ll only go through a handful of stages on any given playthrough, but finding different paths and trying different combinations of stages give the single player mode tremendous replay value (which it already would have from the gameplay alone).
Oh, and just in case the timeless single player campaign isn’t enough, there are also multiplayer modes to keep you coming back for more.
Different vehicles. Teammates with their own benefits (Peppy gives advice, Slippy displays the bosses’ health, Falco helps find some alternate paths). Free-roaming “All-range mode” stages. Multiplayer. A strangely memorable (if corny) storyline… There’s just so much to it. Aside from the obvious 1997 visuals, Star Fox 64 has aged like a fine wine.
10: Super Mario 64
A good chunk of this list is comprised of games released towards the end of the Nintendo 64’s timeframe (Banjo-Tooie, Kirby 64 and Majora’s Mask from 2000; Conker, Mario Party 3 and Paper Mario from 2001). Given the N64’s pioneering of 3D gaming, it makes sense that it would take time for developers to hit their stride and create something that holds up down the road.
But Super Mario 64 was there from day one, and is still an adventure worth taking all these years later. It’s easy to talk about how revolutionary and influential Super Mario 64 was, but this list is meant to discuss how much fun it still is.
What’s amazing is how Super Mario 64 translated the key elements of Mario’s 2D platformer adventures so seamlessly into 3D, while also establishing a new set of rules for 3D platformers. I mentioned how Ocarina of Time follows the same blueprint as A Link to the Past, only in 3D. But Super Mario 64 is structurally a very different game than Super Mario World, though it retains enough key elements of Mario’s past (jumping is important) to still make it feel like a proper follow-up. And just like the 2D Mario games before it, Super Mario 64 has stood the test of time.
Okay, okay. So obviously the visuals scream 1996 (compared to Super Mario World’s sprites, which look just as colorful as they ever did), and the camera can be a pain at times. And like Ocarina of Time, I don’t think Super Mario 64 boasts one of the better soundtracks in its series, despite a few standouts (Dire, Dire Docks comes to mind). So maybe Super Mario 64 isn’t the most timeless Mario game, but for a launch game on the Nintendo 64 to still be this much fun to play? That’s got to be some kind of small miracle.
The camera may be a bit tricky to handle, but Mario himself controls just as he should. It’s hard to describe, but the sense of control Mario has just feels right. Then we have fifteen big levels to explore, a host of bonus stages, and the best hub world in gaming history (don’t even argue). Mario must explore every nook and cranny of these locations; fighting monsters, racing penguins, flying through clouds, swimming with dinosaurs, and a plethora of other objectives to claim those elusive power stars that can break Bowser’s curse on Peach’s castle and its occupants.
Sure, the graphical and mechanical limitations are present. But Super Mario 64 was so forward-thinking in its ideas and so polished in its execution, that this 1996 Nintendo 64 launch title can still claim to be one of gaming’s greats. Proof that fun knows no age.
There you go, my top 10 Nintendo 64 titles to play today! Although I suppose I haven’t played every Nintendo 64 game (I recently purchased the two Goemon N64 games, which I’ve heard good things about, so I guess I’ll see if those deserved a spot here soon). But I think I’ve played so many of them over the years, that my experience on the subject has some merit. I like to think so, anyway.
It’s hard to believe the Nintendo 64 is over twenty-five years old now. It’s as old as the movie Twister, and the Tickle Me Elmo!
Thanks for reading, and I hope this list could bring back some fond memories, or inspire you to pick up one of these games again, or even help you discover them (okay, that last one is a lie. No one is discovering these games from my blog). At any rate, I hope you enjoyed!
Magical Drop is a series of falling block puzzle games originally developed by the now-defunct Data East. It was a popular series in arcades (particularly in Japan), but the series found a newfound popularity when the second and third entries were ported to home consoles. Though the series continues to take long absences between releases as it bounces around from one developer to another, the older titles continue to find their way onto modern gaming hardware. Such is the case with Magical Drop 2’s release on the Nintendo Switch’s Online service, a port of the Super Famicom version of the game. While fans may still be left wondering why Nintendo seems to refuse to add EarthBound and Super Mario RPG to the Switch’s retro lineup, Magical Drop 2 is a surprisingly welcome addition, providing the pure gaming fun that you expect from its genre.
Most falling block-style puzzle games see the blocks fall from the top of the screen to the bottom, with the player trying to prevent the blocks from rising back up to the top. The schtick with Magical Drop, however, is that the game is over as soon as the blocks (or “bubbles”) reach the bottom of the screen. So instead of blocks falling one at a time, the bubbles of Magical Drop slowly descend in rows, with the player trying to eliminate these rows before they reach the bottom of the screen.
How the player does this is pretty unique: the player can grab onto one color of bubble at a time (though they can grab as many of that color as they can), and then throw those bubbles back to the rows above. The player has to line up at least three of the same color bubble vertically in order to eliminate them, but the really cool thing is that if there are other bubbles of the same color coming into contact with what the player pieces together, every connected bubble of that color will be eliminated. So if you play things carefully enough, you can destroy many blocks in different rows with one fell swoop.
It’s a fun setup, and like many games of the genre, the simplicity the gameplay displays on face value hides a whole lot of depth and strategy. Certain modes will also introduce their own gimmicks, such as special bubbles that, should they touch a completed column, will subsequently destroy an entire row, column or surrounding area of bubbles. There are also ice blocks, which are basically neutral bubbles, with all adjacent ice blocks disappearing if a row of bubbles is completed next to them, no matter the color.
The game features several playable characters. They are all charming enough with their cute anime designs. Though one of the game’s more questionable elements is that each character supposedly has their own abilities, but unlike something like Tetris Battle Gaiden, where these abilities are obvious and manually performed by the player, the character abilities in Magical Drop 2 are a lot more vague. From what I understand, the character abilities here revolve around how the rows of bubbles fall, but the action is so fast paced I haven’t the eye to notice the differences between them. And there’s no in-game description of what their abilities do, other than a one-to-five star rating for a character’s strength, and a vague image under their “magic” category. So you’re guess is as good as mine.
Magical Drop 2 features four different modes of play: a single-player mode where the player simply tries to last as long as possible and beat their high score. Then there’s the two player battle mode, of course. There’s also a story mode, where the player selects their character and faces off against the others. Finally, there’s the oddly-named “puzzle” mode, which has the player trying to eliminate screens of all their bubbles in as little moves as possible in order to add more time to a constantly ticking clock. So there’s actually some good variety here, for a game of its time. And given how addictive the gameplay already is, there’s some really good replay value here.
The game features some fun visuals (the characters’ victory and defeat animations are surprisingly fluid), and the music is appropriately upbeat and catchy. Though the game’s audio takes a hit simply because the narrator can get pretty annoying. I’m someone who honestly doesn’t mind Baby Mario’s crying in Yoshi’s Island, and finds the garbled voices of Banjo-Kazooie to be charming, so it’s saying something when a soundbite in a game gets on my nerves. Magical Drop 2’s narrator’s shouts of “No!” whenever something doesn’t go right for either participants (computer player included) is so constant it becomes stressful. The narrator doesn’t even say anything else during a match. It’s not a major issue or anything, but it is a shame that the endless stream of “No!” drowns out the delightful music.
The falling block puzzler is one of gaming’s most purely enjoyable genres: instantly entertaining, addictingly engaging, unhindered by the bells and whistles that gaming has adopted over the years. Magical Drop 2 is another reminder of why the genre is so enduring.
It’s been thirty years to the day that the original Sonic the Hedgehog game was released on the Sega Genesis, with its titular hedgehog instantly becoming a gaming icon. It also gave us one of gaming’s greatest foes in Dr. Ivo “Eggman” Robotnik.
The Sonic series has had a colorful history, to say the least. For every classic it’s produced, it’s had one or two disappointments, and even flat-out stinkers. For every Sonic 2, there was a Sonic Boom. For every Sonic CD, a Sonic: The Fighters. For every Sonic Colors, a Sonic ’06. Heck, even Sonic Mania – the best game the series saw in decades – was followed-up mere months later by the incompetent Sonic Forces (as if Sega took offense to Mania’s warm reception and goodwill, and made Sonic Forces out of spite). It’s a testament to the enduring appeal of Sonic himself that no matter how low the actual games got, Sonic remained an icon.
Sonic has made a name for himself outside of video games as well, starring in more animated series and comic books than any other video game character, and as recently as 2020 had his own actually-pretty-good movie (with a sequel on the way). It’s safe to say Sonic isn’t going anywhere, and nor should he.
Happy 30th birthday, Sonic the Hedgehog (and Robotnik too)!
That’s not the only video game anniversary today, though. June 23rd also marks the anniversary of the Nintendo 64, which launched in Japan on this day in 1996.
The Nintendo 64 is one of Nintendo’s best consoles in an historical sense, if maybe not in the timeless sense like the Super Nintendo. That is to say, the Nintendo 64 marked a pivotal moment in gaming history, and many of its games were great for the time, but only a few small handfuls of them have withstood the test of time (namely those with Mario, Zelda and Banjo in the title).
Of course, the Nintendo 64’s unique place in history as being the first real 3D console gives it a special kind of nostalgia (the Playstation and Saturn added 3D games as they went, but the N64 was built with them in mind, in case you thought I forgot about them). It was something completely different from the consoles that came before it, and just about every console since has built on what it started. Of course, being such a pioneer in gaming means that much of the N64’s library feels unpolished today, but you have to start somewhere. And the stuff that has held up on the N64, has held up surprisingly well.
So a fellow happy 25th birthday to the Nintendo 64!
Now if you’ll excuse me, I’m going to go play some Sonic the Hedgehog and Mario Party. Or maybe I’ll meet down the middle and play some Sonic Shuffle… No. I won’t play Sonic Shuffle.
*Review based on the Steam release of Oddworld: Stranger’s Wrath HD*
“And now for something completely different.”
That Monty Python quote may be a tad overused, but it’s certainly a fitting way to introduce Stranger’s Wrath, which has to be the odd man out of the Oddworld series, and I mean that in the best possible way.
After Munch’s Oddysee – the second installment in the originally planned five-part “quintology” of Oddworld titles – failed to meet its creators’ vision, in addition to having a disappointing reception from critics and fans alike, developer Oddworld Inhabitants hit the pause button on the Quintology and decided to make a whole new kind of Oddworld game. Unlike the previous “bonus game” in the series, Abe’s Exoddus, this new title wasn’t to be a more polished version of an established formula (though there was some talk of a Munch’s Exoddus back in the day), instead, this new Oddworld entry would be unlike anything that came before it. This game would end up being Oddworld: Stranger’s Wrath, a title whose bold ambitions and deviations from series’ tradition paid off in spades.
Originally released on the Xbox in 2005, Stranger’s Wrath was, like Abe’s Exoddus before it, quietly one of the best titles on its console (and I’d argue it’s whole console generation). Stranger’s Wrath became a surprise critical hit and quickly gained cult classic status. Though poor sales numbers and falling outs with publishers saw Oddworld Inhabitants leave the video game industry for near of a decade shortly after the game’s release. It’s a crying shame. Though Oddworld has reemerged in recent times, you can’t help but wonder of all the possibilities the series missed out on during those silent years, especially after Stranger’s Wrath pulled away the curtain and proved Oddworld was a series that could go seemingly anywhere.
After having created unlikely heroes in both Abe and Munch – characters who were incapable of defending themselves but could find other ways to overcome enemies and obstacles – Oddworld Inhabitants decided to make their third protagonist a stark contrast to his predecessors: The titular “Stranger” of Stranger’s Wrath has a face like a lion, and arms like a gorilla (making him the first mammalian creature in Oddworld, unless the Fuzzles from Munch’s Oddysee count). To cap it off, he’s a badass bounty hunter carved from the same cloth as Clint Eastwood’s Man With No Name. Suffice to say, the Stranger is pretty far removed from Munch.
Although Stranger’s Wrath takes place on the same continent of Oddworld as the previous entries in the series, it’s in an area untouched by the industries of the Glukkons (the series’ usual antagonists), being largely underdeveloped and reminiscent of the wild west. In fact, I’m not even sure if it’s ever been confirmed if Stranger’s Wrath takes place around the same timeframe as the other Oddworld games, or if its events occur sometime in Oddworld’s past.
You’ve probably deduced by now that Stranger’s Wrath is a western. As stated, the Stranger is a mysterious, no-nonsense bounty hunter, drifting from town to town bagging outlaws for precious Moolah (the currency of Oddworld). Though Stranger’s quest for cash isn’t all about greed, as he requires a hefty sum to pay for a life-saving operation, giving the character a vulnerability that makes this lion-gorilla more human.
It’s not just Stranger and his place in Oddworld that differentiates Stranger’s Wrath from the previous Oddworld titles, but it’s also very different as a game. Whereas Abe’s Oddysee and Abe’s Exoddus were 2D puzzle-platformers, and Munch’s Oddysee attempted to translate that into 3D (while introducing several original ideas that, sadly, didn’t quite pan out), Stranger’s Wrath combines a first-person shooter with a third-person action-adventure.
Given the game’s time of release deep into the Xbox/PS2/GameCube generation – something of a creative dark age for gaming in which concepts like color were frowned upon for being “too kiddy” – the changes Stranger’s Wrath made to Oddworld may have damaged the series under less talented hands (need we remember how Jak & Daxter tried to be more “edgy and mature” with its sequels, which now just seems like laughable conformity in retrospect). Thankfully, the creativity of Oddworld Inhabitants is still at play here, and arguably at its best. Somehow, Stranger’s unlikely marriage of genres works seamlessly at the press of a button.
If the Stranger has anything in common with Oddworld’s past heroes, it’s in his disdain for guns. Putting an Oddworld twist on the first-person shooter, Stranger is equipped with a crossbow over his right arm, which doesn’t shoot bolts or arrows at enemies, but the various little critters scattered about Oddworld, humorously referred to as “live ammunition.”
When in first-person mode, the player can equip two forms of ammo onto Stranger’s crossbow at a time (one on the left, one on the right). There are eight primary types of this live ammunition, giving players a lot of options and combinations as to how they want to tackle a situation: Zapflies are electrically-charged fireflies that can be shot in quick succession or be given a short time to charge up and do some real damage or knock out electrical devices. Chippunks are foul-mouthed little rodents who will lure an enemy away from a group with its insults (the bad guys can’t wait to step on them). Bolamites are spiders that wrap enemies in their webbing for a short time. Fuzzles – returning from Munch’s Oddysee – can be fired directly onto enemies or planted as a trap, and provide continuous damage with their ferocious bite. Thudslugs are heavy, beetle-like creatures that can knock an enemy out with one well-aimed shot. Stunks are like skunk versions of chippunks, leaving a terrible smell where they land, causing the bad guys to vomit and making them easy pickings for Stranger. Stingbees, which come in massive quantities, are fired like a machine gun. Finally, Boombats, as their name bluntly suggests, are bats that explode.
What Oddworld Inhabitants managed to successfully do with the live ammunition concept is create a variety of well-defined weapons that each have a distinct role, and will all come in handy at one point or another. Though different ammo types are better for certain situations, none of them ever come across as a pointless addition.
Bad guys are worth more Moolah if they’re captured alive, but there’s also nothing stopping Stranger from taking them out of the picture altogether. Some ammo types are better suited to incapacitating enemies (like Stunks or Bolamites), whereas others are more lethal (Stingbees, Boombats and Fuzzles). After an enemy is downed or killed, Stranger can use a vacuum like device on his crossbow to suck them up to collect the bounty (a mechanic I have to applaud. So many story-focused games are so concerned about something being “too video game-y” as to not fit in with their narrative, so it’s great to see games like Stranger’s Wrath not feel embarrassed to embrace a more convenient video game element to go with their story). Personally speaking, my favorite is the Chippunk/Stunks combo, luring in an enemy with the former then using the latter to capture said foe whilst they puke.
The boss outlaws are trickier, having both a health bar and a stamina meter. If you want to bag a boss alive, you have to find the best way to deplete their stamina, which is different depending on the boss. The only setback to this is it’s rarely apparent what a particular boss’s weakness is, and if you’re out of that particular ammo by the time you get to the boss, you don’t always have an opportunity to get more of that specific ammo during a boss. It isn’t a huge drawback, but it is a little bothersome to not know ahead of time if you’re trying to bag the boss alive for more Moolah.
Stranger finds more ammunition by coming across the nests of each respective creature, knocking them out and collecting them. The exception are the zapflies, of which Stranger has unlimited ammo. This might be my only critique with the live ammunition. While it makes sense from a gameplay perspective that Stranger needs one type of unlimited ammo so that he always has a means to collect more, I think the zapflies are a little too good to be the one that comes without limits. The other ammo types (other than Stingbees) are in short supply, with Stranger holding a max of about ten to fifteen shots apiece (though you can buy upgrades for more ammo). So it seems a little overpowered that the ammo you can charge up for a stronger shot is the one you can’t run out of.
The first-person aspect is only half of the equation, of course. Players can also swap to third-person to use melee attacks and run faster (with Stranger going beast-mode and running on all fours at top speed). Like the bosses, Stranger also has a stamina bar, which is used for the melee attacks and, interestingly, to heal. Instead of finding health around the place, the player simply needs to hold a button for Stranger to “shake off” the damage at the expense of stamina. That may sound like another overpowered element, but you’d be surprised how many times you can still manage to bite the bullet as you wait for your stamina to replenish during a gunfight.
Like Abe and Munch, Stranger can communicate with NPCs. Due to the game’s heavier focus on action, “gamespeak” has been streamlined to a single button, with Stranger simply asking what he needs to for information (or to remind the player what they’re supposed to be doing, if there’s no NPC present).
The structure of the game is simple enough. Go to the bounty store, accept a job, head out to find your target, take out his gang and eventually the boss himself (usually cumulating in a big shootout with the boss and his gang, or a more traditional boss fight). After you’ve exhausted a town of its outlaws, you move onto the next and do the same. Sometimes, you’ll even have an option as to which job you want to take at which time. And just before the formula might start to feel repetitious, the game throws a huge curveball at the player, and though the core gameplay remains intact, the structure changes drastically.
I won’t give away any spoilers, but you could say that Stranger’s Wrath is divided into three acts: Act one comprises of the first two towns and their bounties. The second act is the third town, where the game gets considerably bigger. And act three comprises of everything post-shift.
Again, I don’t want to give anything away, but it should be noted that the twist the game takes has been a talking point ever since the game’s 2005 release. Some love it as an all-time great gaming twist that benefits the story of Stranger’s Wrath, while others feel the game becomes far more linear after the twist. While I can understand the complaints of the latter category, and may even personally prefer the more game-focused first two acts as opposed to the story-based third, I find myself siding more with the more positive outlook of the twist. So many games want to be everything (a trend that started in the generation of Stranger’s Wrath, which saw the rise of Grand Theft Auto and Elder Scrolls, and has only become more extreme in the years since), but they end up lacking a definitive purpose. It’s refreshing to come across a title like Stranger’s Wrath that knows exactly what it wants to be, and executes it so well.
Though I will admit I have two issues with the game’s post-twist timeframe: the first is that (again, without spoiling anything), it becomes much easier to get a hold of more ammo, which takes away some of the uniqueness that hunting it down has in the earlier parts of the game. The second is that each of the Live Ammunition types (save the Zapflies) get an upgrade during this section. That may sound cool, but the issue I have is that I kind of like the functions of some of the un-upgraded ammo better, but once it gets the upgrade, you can’t switch it back. Given the direction the game goes, these changes make sense. But it would be nice to have the option to use the tools at play the same way you did up to that point.
Though it may be something of a shooter, I actually think the best game to compare Stranger’s Wrath to would be another beloved 2005 title: Shadow of the Colossus.
Like Colossus, Stranger is a story-driven game in which the game drives the story. Some may complain that these titles are “too linear” or that “they don’t have enough for the player to do other than the main objectives.” But to complain about such things is kind of missing the point of these types of games. While today, we have the dreaded “walking simulator” (first-person games with minimal gameplay in which the player simply walks through the story), Stranger, like Colossus, tells its story through a game. Perhaps it’s not quite on the same level of “a story only a video game could tell” as something like Undertale. But like Colossus, Stranger is the combination of gameplay and narrative done right.
It’s impressive how Oddworld: Stranger’s Wrath both deviates away from the series’ past while also somehow managing to fit right in to their established world. The only returning creatures of Oddworld’s past are the aforementioned Fuzzles, and the doctor who plans to perform Stranger’s operation, who is a member of the Vykker species introduced in Munch’s Oddysee. There’s not so much as a mention of Mudokons, Glukkons or Sligs. The townsfolk are all featherless chicken people called Clakkers, while a tribe of natives, salamander-like creatures called Grubbs, also show up. Meanwhile, the outlaws Stranger hunts down are an assortment of goblins, dinosaurs and slugs (their specific species are still unnamed, though it’s pretty cool how the game utilizes a consistent batch of creature designs for a varied assortment of baddies). It’s the right kind of franchise reinvention, which of course makes the series’ extended absence after Stranger’s release all the more heartbreaking.
There are a couple of areas in which Stranger’s Wrath may show a bit of age. Namely, the jumping definitely feels very “mid-2000s action game” in that it feels a little slow and awkward. This can make some moments that implement a bit of platforming feel a bit less than ideal. It should also be noted that there are some technical issues with the game, particularly in the Steam release I played for this review (the achievements are notably buggy in this version, but I suppose that’s only an issue if you’re really into those kinds of things). There were also a few graphical errors during some in-game cinematics (I actually beat the game twice ahead of this review, and while most of these graphical hiccups only showed up in one playthrough or the other, one particularly funny moment happened during both).
I used an Xbox One controller for my playthroughs, and it has to be said that whatever the default controller settings are on Steam for Stranger’s Wrath are dumbfounding. I admit I was worried for a brief moment that maybe Stranger was always just a mess a to control, and the game itself didn’t live up to my memories of it. Thankfully, a quick internet search gave me the instructions I needed to reconfigure the control setup to feel more like it original release, putting my concerns to rest. Stranger’s Wrath has also been made available for the Playstation 3 and, most recently, Nintendo Switch. I’ve heard the PS3 version lacks the technical bugs of the Steam version, and I’m assuming the Switch version follows suite. So those might be more ideal ways to play Stranger’s Wrath today, but none of the bugs found in the Steam version interfere with gameplay in the way those of Munch’s Oddysee did. So if you reconfigure the control setup for the Steam version it’s still plenty playable.
And play it you should! Oddworld: Stranger’s Wrath, like Shadow of the Colossus, is one of those games that quietly received praise for its originality, but went under the radar in its initial release. Whereas Shadow of the Colossus eventually went from being recognized as a cult classic into an all-time great, Stranger’s Wrath has unfortunately never broken through that glass ceiling that Oddworld has sadly been under since day one. In a more perfect world, Stranger’s Wrath would have ascended right alongside Shadow of the Colossus. Here’s hoping that one of these re-releases will eventually see Oddworld: Stranger’s Wrath takes its place on the pedestal it’s always deserved.
*Review based on the updated Steam release of Oddworld: Munch’s Oddysee*
The Oddworld series has had a turbulent development history. Originally envisioned as a five-part “Quintology,” the series quickly expanded to include “bonus games,” after the success of the first entry in the series, Abe’s Oddysee, lead to the development of an unplanned direct follow-up, Abe’s Exoddus. The second “proper” installment in the Quintology, Munch’s Oddysee, would then see a number of road bumps in its own development. Originally planned as a Playstation 2 exclusive, all the work developer Oddworld Inhabitants made for that version of Munch went out the window and had to be rebuilt from the ground up when the game transitioned to the Xbox. And with the pressure of releasing Munch’s Oddysee as a launch title for Microsoft’s then-new home console, many of the ideas and concepts series creator Lorne Lanning and company had for Munch had to be trimmed down, cut short, or removed entirely.
It should be no surprise that Munch’s Oddysee is widely accepted as the worst entry in the series by both fans and critics then. Even Lorne Lanning has publicly expressed his disappointment with the finished product on numerous occasions. Munch’s reception would shift Oddworld Inhabitants’ focus onto a bonus game once again, as the next Oddworld entry, Stranger’s Wrath, was created with the intention of separating itself from Munch’s Oddysee as much as possible.
That was the end of the line for Oddworld for a good while. The series would end up having more cancelled and unrealized games than it did actual releases. Squeek’s Oddysee, the planned third entry in the Quintology, was never released, nor were multiplayer title The Hand of Odd or the spiritual sequel to Stranger’s Wrath, The Brutal Ballad of Fangus Klot. It wasn’t until 2014 with the release of Oddworld: New ‘N’ Tasty – a remake of the original Abe’s Oddysee – that the series would return. At that point, Oddworld Inhabitants chose to reboot the series, using the remake as a launching pad to start things over. 2021 will see the release of SoulStorm, a “complete re-imagining” of Abe’s Exoddus which is now being reworked as the second installment of the Quintology, effectively making Munch’s Oddysee completely non-canon (Stranger has hopefully escaped this fate, given how little it had to do with the previous games anyway).
It probably didn’t help the game’s reputation when the four Oddworld titles were bundled together on Steam in 2010, with the port of Munch suffering from so many bugs and glitches that it continued to receive patches and updates all the way into 2016.
Playing Munch’s Oddysee today, twenty years after it debuted alongside the original XBox in 2001, its shortcomings have only been magnified. It’s a shame, because in terms of ideas, Munch’s Oddysee has no shortage of creativity. But it’s now more obvious than ever at how all these ideas were only partly realized. The sacrifices made in its development make Munch’s Oddysee feel like a series of missed opportunities and lost potential.
The titular Munch of the game is a Gabbit, an amphibious creature with a large head and a single leg. Actually, Munch is believed to be the very last Gabbit, as the species became popular hunting game for their eggs (considered a delicacy by the Glukkons, Oddworld’s dominant species of businessmen), and for their powerful lungs, which are compatible with most of Oddworld’s other species (with Glukkons being such heavy smokers, Gabbit lungs come in handy). Gabbits were also used for experimentations by Vykkers (who are under Glukkons but above most other creatures in the Oddworld pecking order, filling the roles of scientists and doctors).
Unfortunately for Munch, he ends up kidnapped by a couple of Vykkers, who perform a series of experiments on the poor Gabbit, installing a sonar device onto his head. Munch manages to escape the lab with the help of the Fuzzles – small, round creatures that look like fuzzy versions of those old chicken McNuggets characters – another popular subject of Vykker experimentation.
Meanwhile, original Oddworld hero Abe returns, being instructed by a being known as “The Almighty Raisin” to find the last Gabbit. With the help of Munch, Abe can rescue more of his enslaved Mudokon brothers. And with Abe’s help, Munch might just be able to track down the last known can of “Gabbiar” (Gabbit eggs), and save his species from extinction.
Munch’s Oddysee obviously continues the series’ environmental themes, but it’s pretty apparent early on that much of the story didn’t make it into the final game, with a number of plot elements feeling rushed or forgotten. The plot also gets a little silly later on, with Abe and Munch trying to make a particularly “lazy and incompetent Glukkon” wealthy, so that Abe can use his telepathy on said Glukkon to win the Gabbit eggs at an auction (why Abe and Munch can’t just sneak into the auction and possess whoever happened to win it is a detail that maybe needed some explanation).
It seems Munch’s Oddysee fully embraces the more comical and cartoonish aspects of Oddworld, which isn’t a bad thing in an of itself, but it’s a bit sad to see the series’ darker and more gruesome elements disappear, as it’s that combination of grimness and cartoonish antics that help make Oddworld feel so unique. Even the environments look brighter and more colorful than in Abe’s solo outings.
Whereas the “Abe” titles were 2D puzzle-platformers, Munch’s Oddysee took things into the 3D platformer route. Perhaps the shift to 3D was another hurdle for Oddworld Inhabitants (aside from Nintendo with Super Mario 64, can you name a developer who got 3D right in their first go?), though credit where it’s due, Munch’s Oddysee had some innovative ideas for the genre that still feel unique all these years later.
Notably, both Abe and Munch are distinct characters not just in appearance, but in gameplay as well. Abe can move faster and jump higher on land, but is unable to swim. Meanwhile, Munch may be slower by default, but he can find wheelchairs to move faster, and is a capable swimmer to boot. Abe can once again possess enemies, while Munch – using the sonar device in his head – can hack into machines to control them. Abe still communicates with his fellow Mudokons, with the native Mudokons becoming soldiers that can go into battle in place of the defenseless Abe, and can even be upgraded to have melee and ranged weapons (giving the game a light RTS twist). Munch, meanwhile, can free Fuzzles from their cages, and can similarly command the vicious creatures against enemies.
I love all of the gameplay ideas in concept. Sadly, none of them feel like they reach their full potential. What’s even worse is that, despite being Munch’s game, he definitely feels like he gets the short end of the stick between the playable duo.
Due to the shift in 3D, Abe’s chanting now works differently here, requiring the use of “Spooce Shrubs” to produce a telepathic light, which the player then controls until it finds an enemy or runs out of time (you can use up to 10 Spooce to make the light last longer). Not only is the Spooce found everywhere, but Abe can instantly regrow a shrub after picking it up, which Munch can’t do. And even though there are still moments that prevent Abe from chanting, there are far more opportunities for him to possess enemies than there are for Munch to hack into machines, which only happens on a few occasions. There are even more than a few moments where you can cheese your way through a stage by using Abe’s possession abilities to clear an area of its foes, instead of working through the level the way I think it was intended given the layout (I can’t help but feel Oddworld Inhabitants intended to include the drones that prevent Abe’s chanting in these segments, but just forgot to include them).
There are also more levels that include Mudokon soldiers than Fuzzles, and as stated, you can upgrade the Mudokons (once again using Spooce), but the Fuzzles lack variety or advancements. The Fuzzles also have trouble keeping up with Munch when he’s on his wheelchair, nor can they follow him into the water, effectively making his soldiers much less useful than Abe’s, on top of already being less interesting.
It’s things like this that make Munch feel underdeveloped from a gameplay standpoint. He’s a cute little fella (well, as cute as anything in Oddworld could possibly be, anyway), but I feel like Oddworld Inhabitants could have done the character better had they settled on one idea for him, like his preference for water. If Munch had some kind of aquatic soldiers and had water-based puzzles to solve, his gameplay would probably feel a lot more fleshed out. The developers should have leaned into the idea of Munch’s amphibian nature, instead of throwing in the sonar device and hacking and Fuzzles. Munch is a Jack of all trades, but a master of none, whereas Abe’s gameplay is more concrete (albeit his jumping feels pretty awkward this time around). As a result, Munch feels like the sidekick of his own game.
Of course, the concept of “too many ideas and not knowing what to do with them” kind of sums up Munch’s Oddysee as a whole. Abe’s Exoddus also had a rushed development, but because Oddworld Inhabitants knew what it was (a bigger, better sequel to Abe’s Oddysee), the end result was fantastic. Munch’s Oddysee feels like Lorne Lanning and company had a lot of ideas for the game, but didn’t settle on any one of them by the time development was pressured into meeting the XBox’s launch.
I can’t help but feel the way to go for Munch’s Oddysee was to build on the “3D platformer meets RTS” aspect (with Abe on land and Munch in water). The game just isn’t nearly as interesting in the levels that are absent of the Mudokon and Fuzzle soldiers. It tries to implement puzzles like in Abe’s titles, but these puzzles quickly become repetitious. One notably lackluster stage is literally just Abe doing some platforming to reach switches to open doors so Munch can pass through repeatedly. Another requires Abe to possess a “Big Bro Slig” to take out the other Slig soldiers in the stage, without informing the player that the Sligs in this particular stage respawn numerous times, and you have to exhaust their respawns in order to make things safe for Abe and Munch. That’s just tedious and cryptic.
There are other examples of shortcuts and cut corners taken: Paramites and Scrabs reappear for one level apiece, but they feel like token appearances this time around, instead of part of Oddworld’s unique setting (they even act identical in this game, further devaluing their appearance). Even the stages and their progression feel unfinished, with levels ending simply by having Abe and Munch stand on pads with their faces on them, which takes players directly into a loading screen and then immediately throwing them into the next stage (I have nothing against linear structures in games, but surely a world map at the very least would make the game feel far less fragmented).
Despite the years of fixes and patches the PC version of Munch’s Oddysee went through, I still experienced some notable bugs during my playthrough for this review. Three in particular stood out: the camera in the game is already more than a little messy, but when it was meant to focus on a particular object for a key moment in a stage (like unlocking a door after solving a puzzle), it would seemingly lose all control before only kind of focusing on the intended object. The second involved possessing enemies, as the ball of light that Abe conjures when he chants would sometimes (not all the time, but sometimes) only move when jumping. Finally, the most confusing bug involved the run button. Normally Abe and Munch just walk when using the control stick, and you need to hold a button to make them run. But in some stages, it was the opposite, and the characters ran by default, and walked when I held the run button.
Whether or not bugs such as those were present in the original Xbox release, I can’t remember. Either Munch’s Oddysee was always a much more technically flawed game than I remembered, or the PC port is still a mess after years of fixes. Either way, it doesn’t help the game’s reputation as the low point in the Oddworld series.
I love Oddworld. It’s one of gaming’s most unique settings, as interesting as its creatures are ugly. And it delved into deeper lore and worldbuilding long before that became commonplace in popular culture. But it’s also a series whose creative ambitions have often been out of reach for what its developers could realistically achieve (and what its publishers were willing to do). That’s evidenced by the unfinished nature of the original Quintology, and the numerous cancelled games besides. But it’s perhaps epitomized through Munch’s Oddysee, a game chock-full of brilliant concepts that end up haphazardly realized.
*Review based on the Steam release of Oddworld: Abe’s Exoddus*
I don’t know if I’ve ever been more grateful for the save feature in a video game than I am for that of Oddworld: Abe’s Exoddus. The original Oddworld title, 1997’s Abe’s Oddysee, is a unique puzzle-platforming experience whose gameplay and imagination stand the test of time. But it’s also hard as all Hell, and only saves your progress at widely spread out checkpoints, making its trial-and-error moments needlessly time consuming as you inch closer and closer to victory with every attempt, but have to start a sequence all over again whenever Abe gets shot, chopped up, flattened or blown to smithereens.
Thank Odd then, that Abe’s Exoddus, the unplanned 1998 sequel, implemented a quick save feature. You can now pause the game, and either save your progress on any screen (resuming your progress from that point when you restart the game), or you can quick save at literally any time to respawn in that exact spot when you die. And should you be a jackass and quicksave right before an impending death (something my younger self enjoyed doing a little too much), you can select the “restart path” option to go back to a checkpoint. To cap off this streamlining of saving, when you load your game, your most recent save file will always be on the top of the pile, in contrast to the first game listing them in alphabetical order by area (with the areas being listed as abbreviations, which could make things tricky).
This alone makes Abe’s Exoddus a vast improvement over Oddysee. But the improvements don’t stop there. Exoddus is a much bigger game than its predecessor, with just about every element of Oddysee being expanded upon in fun and meaningful ways.
It’s something of a shock then, when you gain the knowledge the game was entirely developed – from planning stages to release – in a relatively short nine months. After Abe’s Oddysee – the first installment in the planned five-part Oddworld Quintology -became a surprise hit, developer Oddworld Inhabitants was pressured into making a sequel to meet the next holiday season. With a short timeframe to make a new game, Oddworld Inhabitants held back on the second Quintology entry (Munch’s Oddysee), and decided to make a direct sequel to Abe’s Oddysey which could use the same assets and thus shortening development time to meet their deadline.
Series creator (and voice actor for basically every character) Lorne Lanning made no secret of what a nightmare he thought this rushed development process was, and how it burned out the development team. Though that’s an understandable reaction from the game’s creators given the circumstances, they should at least take solace in knowing that their efforts paid off. Oddworld: Abe’s Exoddus was not only an improvement over Oddysee is pretty much every way, but was also one of the best games to be released on the original Playstation console. And due to the adjustments and additions it made to the formula, it has stood the test of time a lot stronger than its predecessor.
The game begins immediately after the events of the first game. Abe, the Mudokon savior who rescued his fellow slaves from becoming minced meat from Rupture Farms, has a vision from long-dead Mudokon spirits (humorously named “the Three Weirdos” in the game). The Weirdos inform Abe that sacred Mudokon burial grounds are being disturbed, and the bones of their ancestors are being dug up by unknowing Mudokon slaves (their eyes have been sown shut, so they don’t know what they’re digging) under the SoulStorm Brewery corporation (Mudokon bones being the secret ingredient for the brew).
So Abe sets out with a few friends to liberate more Mudokon slaves and save the sanctity of their dead. That’s easier said than done, however, as the destruction of Rupture Farms has made Abe public enemy number one to the Glukkons, whose many corporations are now under heavier security.
Although Abe’s Exoddus uses the same engine and assets as the first game, pretty much everything has been given more depth and variety. While the first game had ninety-nine Mudokon slaves to rescue, Exoddus expands that number to three-hundred. The player can still use the “gamespeak” feature to communicate with these Mudokons, but now Abe has more things to say, and certain Mudokons will require different interactions.
Along with the “hello,” “follow me” and “wait” commands from the first game, Abe can also say “sorry,” “stop it,” “work” and even slap a Mudokon in the face. Sorry is used to apologize to depressed and angry Mudokons, while stop it is used if they are bickering amongst each other. Work is used to have them help out when a problem requires multiple sets of hands (like multiple switches needing to be pulled in unison to open a door), and to have them resume their duties when a Slig guard passes by, to avoid suspicion. Finally, the slap is used on Mudokons who have been exposed to laughing gas, and are recklessly running around in need of a good slapping. There are also the aforementioned blind Mudokons, who rely solely on Abe’s voice and can’t follow the character himself, making for some notably tricky moments.
Best of all, however, is the “All of ya” command. In Abe’s Oddysee, many moments could grow tedious if they included multiple Mudokons, as you would have to talk to each one individually, and often have to repeat a process as many times as there were Mudokons in the area. But with the All of Ya command, you simply get the attention of every Mudokon on screen. Like the new save features, it’s the best kind of streamlining.
Of course, Abe still has his chanting, which is not only used to open portals to free slaves, but also allows Abe to telepathically control enemies. In Oddysee, Abe could only control Sligs, using them to infiltrate enemy lines and utilize their fire power, since Abe himself can’t attack. in Exoddus, there are also flying Sligs that can be controlled, which come in handy as the traditional Sligs can’t jump. Wild Paramites and Scrabs can also be controlled by Abe this time around, and it’s clever how the game utilizes their established behaviors from the first game for the sake of gameplay (Paramites attack in packs, so you can communicate with others when they’re under your control, whereas Scrabs are extremely territorial, and will fight each other on site). Later in the game, Abe can even possess Glukkons! Though the Glukkons aren’t built for fighting (under their suits they walk with their long arms, like Sebulba from The Phantom Menace), Sligs will do whatever they say without hesitation or suspicion. And of course, Glukkons can access important areas that no one else can, due to their high standing in Oddworld.
Perhaps strangest of all, however, is that Abe has the ability to possess his own farts. Yes, Abe could fart in the first game, but more as a pointless joke (and the occasional game of “Simon Says” which utilized the voice commands). But here, Abe’s flatulence have more utilitarian use in gameplay. If Abe comes across a SoulStorm Brew vending machine, he can have a drink which will fuel his next fart. If Abe farts after drinking a brew, said fart will explode where it stands within a few short seconds. But if Abe chants within that time, he can possess the fart, and use it to find enemies, bombs or drones (which prevent chanting and possession) and blow them up with it. Admittedly, it’s a little weird within the context of the story that Abe would drink the brew (though I suppose it’s a “using their own weapon against them for the greater good” kind of thing), but the fart control does give Abe a fitting means to attack without taking away the puzzle-solving strategy.
Like its predecessor, there are still a number of moments in Abe’s Exoddus where it really feels like the developers packed on the trial-and-error with some of the puzzles, and there are some secret areas with hidden Mudokons that you can miss (in my review of Abe’s Oddysee, I complained that there are a couple of hidden areas hiding behind large, obstructive objects in the foreground, but there’s at least one such secret in Exoddus that’s hiding behind a barely obstructive object in the foreground, which is probably even more annoying). But these elements aren’t nearly as frustrating as they were in the first game due to the aforementioned save feature. You can literally save after each individual step of a puzzle if you want (the quicksave is instantaneous to boot), and if you miss a secret, you can more easily load a previous save file to find it (though if you’re going for 100% completion, I recommend having a guide or walkthrough handy, because you wouldn’t want to undo too much of your progress just to backtrack to one secret). So even though some of Oddysee’s drawbacks are still present, they are much more tolerable this time around thanks to the improved saving.
Video games are an art form, I don’t know why that’s ever in dispute. But video games are at their strongest artistically when they embrace their game-ness. The first two Oddworld titles may be the most overt example of this. Oddworld was one of the earlier example of a video game pushing the narrative merits of the medium (with its environmental and sociopolitical themes). While Abe’s Exoddus may have come about due to commercial demand as opposed to Oddysee’s more inspired creation, the sequel is by far the superior work because it’s a better game. I think there’s a lesson a lot of today’s developers could learn there.
*Review based on the Steam release of Oddworld: Abe’s Oddysee*
In 1997, an odd little game arrived on the Sony Playstation by the name of Oddworld: Abe’s Oddysee. Developed by the aptly-named studio Oddworld Inhabitants, Abe’s Oddysee was planned to be the first installment in the five-part Oddworld Quintology (yes, Pentology is the proper term for a five-part series, but quintology just sounds better, I suppose). The game was a surprising critical success, and even performed commercially well. Though additional Oddworld games would follow, only the second installment in the quintology, Munch’s Oddysee, was produced (the other two Oddworld titles, Abe’s Exoddus and Stranger’s Wrath, were considered “bonus” games that built on Oddworld’s mythology). Oddworld Inhabitants had notorious relationships with publishers, and eventually left the gaming scene for close to a decade, before they returned with a remake of Abe’s Oddysee titled “New N’ Tasty” in 2014, to start the series over.
The Oddworld Quintology may be continuing anew, but it’s a shame the original vision of the series never came to light, because Abe’s Oddysee certainly got things off to a great start. In many ways, Abe’s Oddysee was ahead of its time, with gameplay that still feels unique to this day, and an equally unique world to go with it. Though it has to be said that the experience of playing Abe’s Oddysee today is hampered a fair bit by a steep difficulty curve (including some outright cheap moments that go against what the game instills in the player early on), which is made all the more difficult by a convoluted save feature.
The story is set on the titular planet Oddworld, and the game does a pretty terrific job at giving the player a good insight into its world with very little exposition. Rupture Farms is the biggest meat processing plant on Oddworld, and slaughters the creatures of the planet with reckless abandon (“We used to make Meech Munchies… until the Meeches were through”). In Oddworld, certain species are born into different social classes, and Rupture Farms is no exception: at the top of the pecking order are Glukkons, suit-wearing, cigar-smoking businessmen. Sligs are miserable creatures that are born to be the hired guns for the Glukkons. And at the bottom of the totem pole are the Mudokons – humanoid creatures that looks like a cross between Gollum and the Teenage Mutant Ninja Turtles from the 90’s movies – who have become slaves to the Glukkons’ many corporations.
Abe is one such Mudokon working for Rupture Farms, notable for being more blueish-gray than the Mudokons’ usual green coloring. Late one night when waxing the floors, Abe passes by the boardroom, and curiosity gets the best of him. He listens in on a board meeting, where the Glukkons are discussing Rupture Farms’ decreasing sales. The Paramites and Scrabs – Rupture Farms’ most popular meat sources – are starting to turn up thin. But CEO Mullock has a “great” idea for a new product: Mudokon pops, which are little more than Mudokon heads stabbed on a stick (at least in the US version. International versions of the game censor it as a popsicle shaped like a Mudokon head, which lessens the impact). Horrified at the fate the Gluckons have planned for him and his fellow Mudokons, Abe hopes to escape from Rupture Farms, and free as many slaves as he can (for gameplay purposes, there are 99 in the game to rescue).
There’s an obvious environmental, sociopolitical element to the game. But what Oddworld managed to do to great effect is expressing these themes without ever feeling self-righteous. It has a good balance of imagination and humor to go along with the political aspects (one button even allows Abe to fart, just because), which prevents the game from feeling too pretentious or in love with itself. There are far more story-heavy games made today (whether artsy indie titles or AAA games that think emulating movies equates to art) that get such praise for their narratives upon their initial release, only to be laughed at as egotistical hot air in hindsight. When you make the comparison to Oddworld, such games end up with even more egg on their face.
In terms of gameplay, Abe’s Oddysey is a puzzle-platformer. Abe is no fighter, and if one Slig catches him he’s toast in a second’s time. But Abe has some tricks up his sleeve: he can sneak and hide in shadows, roll into small spaces and, crucially, he can chant to telepathically possess Sligs.
The chant is also used to open portals to free your fellow Mudokons, but it’s only one of several voice commands Abe can make. Abe can also communicate with Mudokons with “hello!” “follow me!” and “wait” (as well as the aforementioned fart, which makes both Mudokons and Sligs giggle). This is important because, once puzzles are solved and the dangers are gone, Abe will have to guide Mudokons to the nearest portal. This “gamespeak” was truly innovative in its day, though there’s an unfortunate caveat in that Abe can only guide one Mudokon at a time, which makes certain moments with multiple Mudokons more than a little tedious (it should be no surprise that Abe’s Exoddus, as well as the remake, fixed this and allowed Abe to communicate with groups).
Another issue with the game is when the focus becomes more action-based (mostly in the middle section of the adventure, when Abe is often chased by wild Paramites and Scrabs). Abe controls well enough, but he controls well for the slow paced nature of the majority of the game. When things get hectic, and Abe needs to run, jump and roll in quick succession without missing a beat, it just feels off. Abe just isn’t made with the same kind of precision as characters like Mario or Sonic, but these chase sequences often play out as if he does, which makes them feel clunky.
There are additional problems when it comes to rescuing Mudokons. The process itself is simple enough (make sure it’s safe, guide them to a portal, chant to open said portal), but there are several hidden Mudokons that -should you miss them – you don’t get a second chance to rescue. And some of them are hidden in really esoteric places (gee, I never would have thought that there was a hidden room I could climb down to behind the large, obstructing object in the foreground, because why would I?). What’s all the weirder is that the majority of these secret rooms and hidden Mudokons are in the earlier portions of the game, whereas things are more out in the open later on. So these missable Mudokons feel like one big beginner’s trap. You probably wouldn’t think of how you find some of these secret areas until later in the game, long after you’ve missed your chance to rescue the poor souls. I’m not sure if this was intended to incite replay value (with the knowledge you have by the end of the game you can redo the beginning and get everything), but it feels like a cheap means to achieve it.
There are a number of other beginner’s traps in regards to the puzzles. While some of the puzzle solving is clever and leads to genuine “aha!” moments, there are more than a few where the game will feel like it’s throwing one cheap death after another on the player, prolonging certain sections by forcing the player to make only a little more progress with every try. Trial-and-error isn’t unforgiveable in video games, but it certainly isn’t ideal. And sometimes, Abe’s Oddysee just takes things way too far. It’s one thing if the trial-and-error is the result of my own mistakes, but how am I supposed to just know when dropping down a hole will put me right in a Slig’s line of fire, or when I casually stroll to the next screen just to be greeted by a hungry Slog (it’s like a Slig’s dog) two feet in front of me?
Granted, you have unlimited lives, so you can keep trying a section as many times as you need to get it right. But the game can be really stingy with the checkpoints, meaning that sometimes you’ll have to replay decently large sections multiple times over just because of one tricky little detail (what’s worse, if there are secret rooms and Mudokons within that timeframe, you’ll have to rescue them again every time until you reach the next checkpoint). I’m all for a good challenge, but when difficulty teeters into tedium, a game loses me.
On the subject of checkpoints, the save feature is the game’s single biggest drawback. A game this demandingly difficult should at the very least apply checkpoints liberally. Not only are these checkpoints in short supply, but the game actually does have a manual save option in the pause menu, but it still only saves at the checkpoints! I’m guessing this means the checkpoints themselves only save your progress when you die, but not when you quit playing the game, whereas the save option ensures you can reload the game from that checkpoint the next time you play? But then why separate the two? Either just have the checkpoints save the game, or let me save my progress on whatever screen I need to!
To further convolute things, when loading a saved file, the checkpoints are listed in alphabetical order, which isn’t how they appear in the game itself (it’s easy to find the levels themselves, but the checkpoints of the levels are often out of numerical order, which gets confusing). Goodness, why do I have to jump through so many hoops just to save and load my game?
By now things are sounding largely negative, but these drawbacks have merely been magnified with age. I still feel like there’s enough good to make Abe’s Oddysee a worthwhile gaming experience.
The gameplay is unique and fun, especially when you get to possess a Slig and infiltrate the enemy (sometimes there are drones that prevent Abe from chanting to possess a Slig, giving you another obstacle to overcome by finding a way to destroy the drone or luring a Slig away from it). The graphics, while aged, give the game a distinctly dark (sometimes gruesome) atmosphere, as does the music. Abe’s Oddysee was years ahead of its time in regards to merging gameplay and story. But perhaps best of all is Oddworld itself, one of the all-time great video game worlds. So much about the game is dedicated to its worldbuilding, and the world it builds is really unlike any other in the medium.
Better things laid ahead for Oddworld (the two “bonus” titles, Abe’s Exoddus and Stranger’s Wrath were the best entries, oddly enough), and with the series set to continue in 2021 from where the remake left off, better things may still be in its future. And while going back to where it all started may be rough around the edges, it’s still sure to leave an impression.