Wow, can you believe it’s already been a year since Super Mario Odyssey brought perfection into our gaming lives?
Yes indeed, Super Mario Odyssey celebrates its first anniversary today.
Of the hundreds and hundreds of video games I’ve played over the course of my life, Super Mario Odyssey is easily among the very best. It stands as one of (currently) only nine games I’ve awarded a perfect 10/10, and probably its biggest competition for the title of best game of this decade is its own predecessor, Super Mario Galaxy 2 (another of my 10/10s).
How good is Super Mario Odyssey? So good that, when I beat its story and the credits started rolling, I actually stood up and gave the game a standing ovation. You might say that doesn’t make any sense, since I just completed a video game by my lonesome and it’s not the same as a theater environment where other moviegoers could join in. But that’s just how good Odyssey is. Come to think of it, I don’t know why I didn’t mention my standing ovation in my review of the game somewhere. I don’t believe I’ve done that before with a video game, so it’s worth mentioning in regards to how much I enjoyed it.
Why is Super Mario Odyssey so good? Like all the best games that don the Super Mario name, its a non-stop barrage of creative ideas. And Odyssey might just showcase this better than any other entry in the series. From the second the game begins to well after the credits roll, Odyssey presents players with insurmountable imagination. There’s not a moment in Odyssey that isn’t utterly delightful and inventive.
Super Mario Odyssey is a game that takes elements from just about all of its predecessors, and rearranges them in such ways that it constantly feels fresh and new. Whereas most games – even exceptional ones – often present you with the long and the short of their vision within the first couple of hours and then repeat those elements for longevity, Odyssey never lets up with its restless imagination. It looks back on its peerless catalogue of predecessors not just to simply rekindle fond memories of gaming’s past, but more importantly, to reinvent the very things we love about the series.
Happy one year anniversary, Super Mario Odyssey! One of the very best experiences gaming has to offer. Keep putting smiles on faces.
Full Super Mario Odyssey review can be found here.
October 2018 has been my slowest month of updates on this site since I launched it back on Christmas Day of 2014. I’ve only written three posts (two game reviews and a movie review) so far, so I figured I’d write a little something so things don’t seem too empty.
Don’t worry your pretty little head, my slower updates aren’t a sign that I’m losing interest in this site. I have no plans to stop writing Wizard Dojo. Even if I become a successful game designer or something along those lines (as I hope to be), I’d still try to find some way to update this site.
The simple fact of the matter is…I’ve been busy.
Along with life being, well, life… Zipping through all those Mega Man X games in September also kind of burned me out (BURN TO THE GROUND!). So I was already going to take things easier in regards to this site in October, though I didn’t mean to take it this easy.
Looking ahead to November and December, I hope to pick back up some steam, and carry it through 2019. With that said – and I’ve mentioned this before – I expect my reviews of more recent games to slow down a bit moving forward.
There are two obvious, simple reasons for this. Reason A) video games are expensive, and as much as I’d love to review every big game that’s released, I don’t get paid to do this, and my wallet just can’t keep up. Reason 2) modern video games are just too time consuming. I love video games, but my word, they’ve become quite the time-investment (the recent release of Mega Man 11 was a total delight. A game I can complete in a few sessions? Lovely!). So again, while I’d love to be able to play through and review every last major release, I simply don’t have the time to do that. I’m just now getting back into God of War on PS4, a game that came out months ago, and still need to start playing Ni no Kuni 2, which not only came out in the first quarter of 2018, but was one of the games I was most looking forward to this year.
Between life and priorities, in addition to having other interests and endeavors (again, I’d like to make a game myself some day), I just can’t dedicate 60+ hours for every game that comes out just to beat them for a review. I’ve actually heard some people online complain about Super Mario Odyssey and Marvel’s Spider-Man’s campaigns being “too short” at around 15-20 hours. That actually seems like a more ideal length for a contemporary title from start to final boss (optional content is always welcome, because it’s optional). I mean, that’s most of a day right there! How is that short?!
*Also, speaking of Spider-Man on PS4, that’s probably my next game review*
Long story short, I have no plans to slow down this site in terms of content, but I think it’s safe to say most of my reviews going forward will be for shorter games (retro titles, indie games) and movies. Yes, I still plan on reviewing TV shows at some point, but don’t expect them to be a regular occurrence.
As of this writing, I’ve reviewed 319 video games, so I don’t feel like I’m leaving my readers short if I slow down on AAA titles and such. Besides, it’s not like I’m never going to review big-budget, lengthy games, just that you can expect my reviews building up to the 400 and 500 (and beyond) milestones being mostly comprised of games from yesteryear and those of a smaller scale. And also games with 15-20 hour campaigns. Which are short, apparently…
Oh, and yes, I still hope to make videos of some capacity. And what’s that? My list of all-time favorite video games? Yeah, that’s still a thing at some point.
Alright, this filler update has gone on long enough now. I hope you’re not too bummed about my recent dry spell and the news that I’ll be slowing down on high profile games in the not-too-distant future. Hope you’ll still put up with my nonsense.
Super Mario Party is something of a bittersweet occasion. It’s mostly sweet, mind you, as this eleventh installment in the long-running series feels refreshingly like a return to form, after the past few sequels seemed to go off the rails. Super Mario Party is, in essence, what Mario Party should be: four-player multiplayer fun. The bitterness is felt in Super Mario Party’s technical restrictions, a few unfortunate gameplay limitations, and at least one element in the main mode which feels outright unfair… even by Mario Party standards. So while Super Mario Party may be a return to form for the beloved series, its shortcomings prevent it from reaching the staggering heights it otherwise may have.
First and foremost, Super Mario Party resurrects the series’ classic gameplay (No more ‘party car’ nonsense). Four players face-off in a giant board game, where they compete to gain the most stars. In between turns a mini-game is played, with the winner of each mini-game claiming coins. Players primarily gain stars by purchasing them from Toadette on the game board, though there are a few other means of obtaining them.
Although the classic gameplay has returned, a few new twists have been made to the formula. Super Mario Party includes twenty playable characters (four of which need to be unlocked). While they may all play the same within the mini-games to keep things fair, each character now possesses their own special dice, in addition to the standard six-sided die that anyone can use.
The character specific dice are a case of risk and reward. Shy Guy’s dice, for example, is comprised of five sides of 4 and one 0, giving him a safe chance of moving a decent number of spaces, but risking not moving at all. Meanwhile, Bowser’s dice allows him to trample all over the place with high rolls of 8, 9 and 10 spaces, but also risks landing on a 1 or losing three coins (in addition to not moving). It’s an interesting twist on the Mario Party formula, with the characters who boast the biggest advantages also having the biggest shortcomings, which not only balances things a bit, but prevents the standard dice from losing its relevance.
There’s another interesting new element to the proceedings, as players can now gain allies by means of landing on a special space or using an item to summon them. These allies are comprised of any of the playable characters not currently in the session. Whoever you claim will not only add to your roll (allies can only roll a 1 or 2), but also give you access to that character’s dice. You can also gain multiple allies, which means that much more can be added to your rolls, and you can use that many more dice. There are even a few mini-games in which your allies can help out, which may seem unfair, but it’s the kind of “hate your friends” unfair that has always been associated with the series.
As for the mini-games, Super Mario Party boasts no less than 80 of them. And for the most part, it’s a pretty stellar lineup. The usual four player, two-vs-two and three-vs-one mini-games return, though the battle and dueling mini-games from the series’ oldest entries are sadly still absent. The mini-games use a variety of different play methods, whether traditional button presses, motion controls, and even games with minimal interaction (like selecting objects in one of the game’s surprisingly fun memorization games). Thankfully, very few of the mini-games feel based around luck this time around, and the motion-control implementation is top-notch (one game which sees players try to jiggle candy out of a jar is the best use of physics in a video game this year).
On the downside of the game, there is one aspect that is completely luck-based: the end-game bonuses.
Yes, the old Mario Party titles also included end-game bonuses, which could turn the tide completely at the last minute, but they were consistent with what their bonuses were. Those entries rewarded the player who won the most mini-games, landed on the most green spaces, and claimed the most coins (an odd choice, considering it usually coincided with the mini-game bonus). But in Super Mario Party, the bonuses are randomly selected, as are the number of bonuses it decides to dish out at the end of a match (usually it’s two, but every so often there will be three).
In the first game I played, I managed to snag a bonus star for winning the most mini-games, but I ended up in a close second in my second game because one of my opponents got bonuses for having an ally and for moving the least spaces (why should that even warrant an award?). It was frustrating in the old Mario Parties when your friends would steal first place in the last minute thanks to the bonuses, but at least you could somewhat strategize with the knowledge of what the bonuses would be. You could try to win the most mini-games, or aim for the most coins. But here, you have no idea what the bonuses will be until they’re dished out. If the game had to have random end-game rewards, it should at least inform players what they’ll be at the start of the game, so that they can actually try working towards earning them, instead of keeping their fingers crossed.
Aside from that (admittedly infuriating) aspect, the classic board game play style of Mario Party is at the best it’s been since the early GameCube titles. And the excellent mini-games are the most memorable since the beloved N64 trilogy. Unfortunately, there is a strange shortage of game boards to choose from at only four. Each board is fun and finds ways to stand out, but you can’t help but wish there were more.
On the bright of things, Super Mario Party makes up for the lack of boards by providing some interesting new modes, one of which – River Survival – is actually a great alternative to the classic board game setup. If classic Mario Party is all about competition, River Survival changes things up in the name of cooperation.
In River Survival, four players work together to – as the name suggests – survive river rafting by working together. All four players paddle their oars using motion controls, with the players on the left swerving the raft right, and the players on the right swerving the raft left. Players will have to pop balloons spread throughout the river to play cooperative mini-games, which will add more time to the clock upon completion. While the number of mini-games in River Survival are limited, the river itself contains branching paths, with each path providing their own challenges. So there’s still a decent sense of variety.
The other new mode is Sound Stage, which pits players in a series of motion controlled, rhythm-based mini-games as they compete for the highest score. It’s a fun and welcome diversion, but Sound Stage lacks the heft of the classic mode and River Survival. In addition to these modes, you can always choose to play a selection of unlocked mini-games.
One unavoidable aspect of Super Mario Party that might not sit well with all players is that it’s a Switch title that cannot be played in the Switch’s handheld mode. There are a few mini-games that can be played with multiple undocked Switches – which serve as cool tech demos but won’t last long – but you can’t play any of the game’s main modes in handheld form. At the very least, this is an understandable technical limitation, as the game requires players to only use a single Joycon so that it’s easier for multiple players to join in (not to mention the game brings out some creative uses in the Joycons’ motion and rumble features). But it’s obviously a limitation that won’t sit well for those who enjoy the on-the-go nature of the Switch.
A far, far less understandable restriction comes in the form of Super Mario Party’s online mode. Continuing Nintendo’s infamous trend of bizarre online decisions, Super Mario Party’s online is limited to a single mode which sees players sprint through five mini-games. Five mini-games that are on rotation from a grand total of ten.
That’s right, Mario Party finally has an online mode, but you can’t get the whole Mario Party experience with friends across the world. You’re limited to a measly ten mini-games, with only five of which being playable at a time. No board game, no River Survival, no access to the majority of mini-games.
This not only comes off as a huge downer, but also an embarrassing missed opportunity, considering Super Mario Party’s release practically coincided with the launch of Switch’s online service. Some might say that the board game matches are too lengthy, and have a higher risk of players dropping out, but I can’t see why they couldn’t limit the board games to be played with people on your friends list, and giving access to every mini-game to the broader online crowd.
For those who long for the glory days of Mario Party, Super Mario Party serves up a fitting return to form for the series. The classic board game style is resurrected and at full force – being muddled only by a lack of boards and the obnoxiously random end-game bonuses – and the additions of character dice and allies provide some meaningful change. The mini-games are varied and among the best the series has ever seen. The River Survival and Sound Stage modes provide some good versatility to the overall package. The game boasts simple-but-catchy music, and incredibly sharp, colorful visuals (it’s no Odyssey, but it doesn’t need to be). The single control option won’t be to everyone’s liking, but it’s the bafflingly restrictive online features that serve as the real party-pooper.
Super Mario Party is a whole lot of fun, and it’s great to see the series get back on track. But here’s hoping the Switch sees a Mario Party sequel in the not-to-distant future that expands on what Super Mario Party started, and isn’t afraid to take the entire friendship-ruining Mario Party experience online.
Venom is the kind of movie I wish I could say I liked more than I did. The idea of a Marvel film based around a villain/anti-hero certainly stands out in this day and age when several films based around Marvel heroes are released every year. But while the concept of Venom has some promise, and some strong performances, it ultimately feels indecisive with what kind of film in wants to be, which continuously halts any momentum it gains.
Venom of course tells the origin story of its titular anti-hero, a hotshot reporter named Eddie Brock (Tom Hardy) who, after raising suspicions of illegal activity with Carlton Drake (Riz Ahmed) – the billionaire head of Life Foundation, a scientific research organization – loses his career and credibility, as well as his fiancée, Anne Weying (Michelle Williams). It turns out (of course) that Drake really is committing heinous crimes, having homeless people kidnapped and experimented on under the guise of medical tests. In truth, the Life Foundation has come into possession of blob-like alien lifeforms called Symbiotes, which can’t survive on Earth for long without latching onto (or, more accurately, into) a host. Drake is using his victims as guinea pigs for the Symbiotes, but if the host isn’t a perfect match, the connection between them and the Symbiode will quickly kill the host.
Luckily for Eddie Brock, at least one of Drake’s scientist actually has a conscience, and she seeks him out so he can expose Drake’s crimes (the cops are a no-go due to Drake’s threats, which I guess also include any official press, so Eddie – being fired and all – is her go-to I suppose). She sneaks Eddie into the facility, and during his escapades he accidentally releases a Symbiote, which then uses him as its host. Thankfully for both Eddie and the Symbiote, they are a perfect match for each other. Not that the film gives much detail as to what that means. Are they a biological match? The Symbiote also affects his mind, so does it feed off his emotions? The former is probably what the film intends, though the latter scenario seems like it makes for a more interesting character.
With the Symbiote in his body and mind, Eddie Brock is able to become the creature Venom, who can manipulate its liquid-like body in a variety of ways, in addition to possessing superhuman strength and agility. Although a decent stretch of the film is dedicated to Brock getting used to a life shared with an alien parasite, it eventually becomes your standard superhero fare, with Venom destined to stop Drake’s evil plots involving the other Symbiotes.
The film is at its best when it focuses on Eddie and his struggles with the Symbiote. Tom Hardy’s performances as both Eddie Brock and the voice of Venom are the film’s biggest highlights. Hardy gives both characters a sense of complexity that you wish were present in the rest of the film. Not that Venom is ever truly terrible (I’ve seen many worse superhero films), just that it can’t seem to decide what kind of movie it wants to be. It’s edgy and serious one minute, then tries to pull a Deadpool-esque joke between Brock and the Symbiote the next. It can, at times, be effective with being serious or comical, but it never finds a way to make them mesh together cohesively. So when we do get to the ‘funny bits’ after so much angst, it can come off as more awkward than funny.
Sadly, the characters outside of Eddie/Venom just come off as stock superhero movie stereotypes. Although Michelle Williams and Riz Ahmed put in the effort, the characters they have to work with are just kind of flat and boring. This is particularly true of Carlton Drake, who falls squarely into the most cliched of super villain roles: the evil billionaire. I suppose it’s an easy archetype to work with (give a bad guy unfathomable wealth and it gives a good excuse why he can afford to act out evil schemes), but it doesn’t exactly change the fact that we’ve seen the evil billionaire super villain a thousand times before. On the plus side of things, the mandatory mid-credits sequence does give us insight as to who the villain in the next film will be, and given the character (and the actor they nabbed to portray him), that raises hopes for the sequel.
Without a more interesting villain here though, Venom suffers. Again, the film is at its best when it’s dealing with Eddie Brock’s struggles with the Symbiote. The film may have greatly benefitted if those struggles in themselves were the primary conflict of the movie, as opposed to the stock villain. Take a note from the Dark Knight films, with the first movie focused on its protagonist’s origin story, then deliver the big villain in the sequel. Venom got the second part right, at least.
As much as I appreciate the concept of a standalone superhero film these days (though I’m sure Sony will make sure Venom doesn’t stay that way), I can’t help but think Venom also suffers from existing in its own bubble without the Spider-Man aspects of the mythology. I understand that Sony has ‘lent’ Spidey to Marvel Studios, but I’m not saying this film needed to have ties to the Marvel Cinematic Universe. There’s an animated Spider-Man film on the horizon with no connections to the MCU, so why not at least mention that the world of Venom has its own Spider-Man? After all, part of what makes the Venom character stand out is his contrast to Spider-Man. Spidey is the altruistic hero who’s willing to forgive even his greatest foes, while Venom is the more tormented soul who may have morality to him… but only to an extent, having no qualms with biting the head off someone more wicked than himself. With Spider-Man seemingly non-existent in this film universe, there’s no ‘greater good’ to compare Venom’s conflicting good and evil traits to, which ultimately makes him feel not all that different from any other super hero (sans for the head biting).
I don’t want to write off Venom completely. As stated, Tom Hardy’s performance does help elevate the film, and there are some fun moments and exciting action sequences. But by the time the credits start rolling, you won’t feel like you just watched a film that did anything for the superhero genre that you haven’t seen already. But at least when that aforementioned mid-credits sequence happens, you may feel that, next time, you just might.
*Review based on the Nintendo Switch version of Mega Man 11*
Mega Man is in a unique place among gaming’s classic franchises. Unlike Mario or Zelda, Mega Man doesn’t strive to innovate with each new iteration. In fact, the Blue Bomber more or less settled on its formula back in the NES days, which saw no less than six entries make their way on the console. Perhaps ‘settled’ is too negative a way to put it, as the series found ways to tweak and twist its classic formula, and each entry still remained fun to play.
After a decade of classic Mega Man titles (which saw two additional entries on SNES and Playstation/Saturn), developer Capcom simply stopped making further iterations in the classic series in favor of its various spinoffs like Mega Man X or Mega Man Battle Network. Then, after a decade of dormancy, the original Mega Man series returned with Mega Man 9 in 2008, which paid homage to the NES games. It seemed like Mega Man was here to stay once again, with Mega Man 10 following suit in 2010. But after 10, the series once again left the spotlight. This time, however, there weren’t even any spinoff titles to speak of. Mega Man simply disappeared (outside of recent compilation releases of past games). Series producer Keiji Inafune left Capcom, and many thought the developer was withholding the series out of spite.
Well, after an eight-year hiatus, the main Mega Man series is finally back with the aptly-named Mega Man 11. And while it still may not be an evolutionary step in gaming that we expect from Mario or Zelda, Mega Man shows no signs of rust after his extended absence. The wheel may not be reinvented, but Mega Man 11 still finds enough new tricks to feel like a proper sequel, and not just a nostalgic retread.
The first difference you’re bound to notice between Mega Man 11 and its immediate predecessors are the visuals. While 9 and 10 paid homage to the 8-bit origins of the series, Mega Man 11 looks like a proper follow-up to Mega Man 8’s more cartoony aesthetics. It’s a welcome change of pace to be honest. As nice as it was to see 8-bit Mega Man return on (then)modern hardware for the past two games, simply repeating the throwback visuals for a third time in a row may not have had the same appeal. By continuing the style of Mega Man’s 7 and 8, 11 feels like a more unique sequel paying respects to Mega Man’s most tragically overlooked gems. Not to mention the variety of bright colors and ‘softer’ character models transition really well into the current gaming age. As is expected of the Mega Man series, 11 also features a great soundtrack that – although not among the series’ best – provides some of the catchiest video game music of 2018.
As for the structure of the game, well, it’s exactly what you would expect: Eight Robot Masters are waiting at the end of eight different stages, which can be played in any order the player sees fit. Each defeated Robot Master gives Mega Man a new power, with each power being particularly effective against a different Robot Master. Once these eight stages are completed, Mega Man moves on to Dr. Wily’s Castle for a small series of especially difficult stages leading up to a confrontation with the mad doctor himself.
In another nod to Mega Man 8, the Blue Bomber can collect bolts throughout stages, which can then be used to purchase items in between stages. Some of these are the usual extra lives, E and W Tanks (for refilling health and weapon power, respectively), but you can also purchase special items like a shield that reduces damage by half and Beat the robotic bird, who will rescue Mega Man should he fall into a bottomless pit. You can also purchase items that will permanently boost Mega Man’s abilities during your playthrough.
If the structure is the same, what exactly is new about Mega Man 11 that differentiates it from its predecessors? Well, the benefit of platformers is that, even if a series re-uses the same blueprints, the level design alone can distinguish one game from the rest. And for the most part, the level design in Mega Man 11 is stellar. The stages are lengthy, have distinctive themes that find their way into the gameplay, and provide a good challenge. On the downside, the game seems to overuse some swarming, constantly spawning enemies, which feels like an unnecessary means to make already difficult platforming sections even more difficult. Sure, past Mega Man games had some sections with constantly spawning enemies, but Mega Man 11 pulls that card a little too often.
The big new mechanic of Mega Man 11 is the Double Gear System. As the name implies, the Double Gear System features two new abilities, both of which are activated with shoulder buttons, and can only be used for a short duration before the Double Gear System overheats and needs to recharge. The Power Gear boosts the strength of not only Mega Man’s Mega Buster, but also the Robot Master abilities, leading to a variety of super powerful moves. Meanwhile, the Speed Gear makes Mega Man move so fast that everything around him seems to be in slow motion.
The Double Gear System is a great addition to the classic Mega Man gameplay, though it can feel a tad underutilized. The Power Gear, in conjunction with the Robot Master abilities, adds an extra element to the series’ rock-paper-scissors setup, and the Speed Gear sees some innovative uses in auto-scrolling and sub-boss sections. But by the time you finish the adventure, you can’t help but feel that the game could have provided more opportunities where you felt the gears were needed. Mega Man 11 does feature some additional challenge modes – like time trials, collecting blue balloons for points while avoiding red balloons, and things of that sort – but they aren’t exactly game-changers. So while these modes may serve as fun distractions, they still leave you wanting a little more for the main adventure.
Mega Man 11 is a tried-and-true sequel. A worthy follow-up to an iconic series that feels all the more welcome due to the series’ lengthy hiatus. The Double Gear System is a nice little twist, but you may hope that, come Mega Man 12, the series might see a more radical change. Imagine a Mega Man title with 12 Robot Masters! Or 16! Or a sequel that lets you combine Robot Master abilities! The series already has a timeless formula to fallback on, so it could use a littler more experimentation. If Mega Man 12 tries its hand at something radically different for the series and falls short, they can always backtrack with Mega Man 13. This is a hard series to cause any permanent damage to itself.
The classic Mega Man formula will admittedly always work to an extent, and Mega Man 11 is as fun as ever. But considering the Double Gear System feels a little underutilized – and other than that system this is a very straightforward Mega Man sequel – you can’t help but hope that the next entry will bring a little bit more to the table in regards to newness. Mega Man 11 delivers the Mega Man goodness the gaming world has been missing for far too long, but hopefully next time around, Mega Man can push himself to be even more.
*Review based on Mega Man X8’s release as part of Mega Man X Legacy Collection 2*
Mega Man X8 is like a small miracle. In stark contrast to the original Mega Man series – which kept a consistent quality even in its weakest entries – the X sub-series provided diminishing quality with each subsequent installment. The first few entries were great, but by the time the series reached X7, it had completely lost its way. In 2004 – a decade after the release of the first Mega Man X – the series received its eighth and, as of this writing, final installment. Returning to the side-scrolling roots of the series while retaining 3D visuals, Mega Man X8 served as a fitting return to form for the series. It may hit a few snags, and some of its more aged elements prevent it from reaching true greatness, but X8 is probably the most inspired Mega Man X game since the first two.
In a lot of ways, X8 feels like a rectification of X7. Not only does it ditch the 3D segments, but also refines the promising ideas that its predecessor failed at in execution. Once again, players can take control of Mega Man X, Zero and Axl, with all three being available from the start this time. Zero once again uses a laser sword and possesses a double jump, but X and Axl have more differences from one another this time around. X retains the classic Mega Man playstyle, with stronger blasts and his charged shot intact, while Axl may not be as strong, but has rapid fire shots and can shoot in multiple directions (at the expense of being able to move when he shoots), and still has his hovering ability.
Each character has additional differences from one another as well. While X of course gains the powers of fallen bosses, and Zero once again gains additional moves, Axl now receives different guns from each boss. Perhaps most notably, since Axl lacks the punch of X and Zero, his special move allows him to turn an enemy into a capsule, which he can then use to transform into said enemy and gain its abilities (Mega Man X7 made it clear Axl could transform via cinematics, but this ability had no presence in gameplay before. That alone speaks volumes for the difference in effort between the two games).
Like X7, you can select two characters per stage, and can switch between them at any time. This time around, the feature actually feels worth it, as you’ll often require the special abilities of different characters to uncover a level’s secrets. As an additional bonus, both characters actually have to die in order for the player to lose a life this time (albeit falling into a pit or touching a spike still results in an instant loss). Weakened characters can even recover some health when swapped out, in what seems like a feature ripped out of one of Capcom’s own fighting games. You can now even perform a powerful team attack with both characters if you can build up its gauge by stringing together combos.
This time around, you can select one of three navigators to give you hints throughout the stages: the returning Alia, and newcomers Pallette and Layer (AKA best girl). Depending on who you select, your navigator will give you different information regarding stage hazards, hidden items, and boss weaknesses and strengths during different parts of a stage.
Mega Man X8 also boasts a myriad of secrets which, again, often require combinations of characters and their abilities to unlock, leading to a great sense of replay value. Gone are the Reploids that need saving and abilities that can be permanently missed. In their place are pieces of scrap metal strewn about the levels (think Mario’s coins), which are used as currency in between stages to purchase chips.
Here’s where things start going against the series’ formula. Recurring items like life tanks now have to be purchased, and even extra lives are exclusively found in the game’s shop (by default, you have three lives, but can buy up to three more at any time). You can buy single-use items to prevent the aforementioned insta-kill from spikes (though the character will only retain one health). Besides the basics, you can also properly build up each individual character, granting them extra health, damage reduction, and other such bonuses. Additionally, secret ‘rare metals’ are hidden throughout levels that, when collected, add more items to the shop, including new weapons for Zero.
The only series’ collectible that remains in the levels themselves are X’s armor pieces, but even those have a fun new twist. X now gets the “Neutral Armor,” which can be (somewhat) customized with armor pieces from the Icarus and Hermes sets if you can unlock them (you can equip the Hermes helmet and boots while wearing the Icarus buster and chest armor, for example). So while Axl has the ability to transform, and Zero gains additional weapons, X being able to find and customize armor really makes each character distinct from one another.
Should you miss out on any of the items, you can restart your game in New Game Plus, where you can not only uncover the items you missed out on, but also gain access to even more unlockables, including the ability to play as the three navigator characters! Once again, it seems like everything that was good in concept about Mega Man X7 (secret characters, RPG-like progression for characters) was actually realized here in X8.
Even the story is a refreshing change of pace for the series. Following the disasters that have befallen the world in the past few entries, humans have begun colonizing the moon, which they travel to via the Orbital Elevator. The director of the elevator is a new generation Reploid named Lumine, who soon becomes kidnapped by Vile (the series’ secondary villain returning for the first time since X3). Meanwhile, eight other new generation Reploids are seemingly becoming Mavericks, despite that their generation is supposedly immune to the Maverick Virus.
Naturally, X, Zero and Axl set out to rescue Lumine and fix the problems the eight Mavericks are causing, and suspect that Sigma is behind everything (why would they think otherwise at this point?). And while Sigma does serve as a major antagonist in the plot, the story does take a different direction as the game goes on. It may not be anything earth-shattering, but by this point, anything other than “surprise, it’s Sigma!” is very much appreciated.
With that said, not everything is great about X8. The music, while certainly not bad, isn’t particularly memorable. And while the visuals are nice enough, they lack the timeless quality of the 2D entries in the series.
The stage design is mostly excellent and creative (including one level which plays with gravity, and another that’s almost entirely a descending obstacle course), but one stage sees the gameplay shift to a chase sequence in which the player hunts down the Maverick boss in flying vehicles through a city a la Attack of the Clones. This stage proves to be X8’s own little dose of ‘good in concept, not so much in execution,’ as it just isn’t particularly fun to play. Another level also changes the gameplay to motorcycling through snowy terrain (reminiscent of the polar bear stages from Crash Bandicoot 2), and though this level is actually a lot of fun, it does mean that two of the game’s stages remove the ability to use the benefits you work hard to unlock.
Thankfully, Capcom seemed to be aware of this, and made the opening stage of X8 repayable to uncover some additional items. Though one other frustrating level remains in the form of the game’s final stage, which ramps up the difficulty far beyond the rest of the game.
So Mega Man X8 isn’t a masterpiece, but when you consider how far the X sub-series had fallen by the time it got to X7, then X8 has to be one of the best turnarounds in video game history. On one hand, looking back at Mega Man X8, it feels like it was the right decision to end the series on a high note to redeem it after the decreasing quality of its predecessors. But on the other hand, with X8 getting so much right and feeling like a proper step forward, it would be nice to see the X series make a return and build on what X8 started.
It’s been over fourteen years since Mega Man X8’s release, and while the series has remained dormant in that time, the fact that X8 fixed so much about what went awry with the series has only made the heart grow fonder for the series in the years since. Who knows whether Mega Man X9 will ever happen or not, but the fact that the series actually managed to find its stride before it rode off into the sunset is an achievement in its own right.
*Review based on Mega Man X7’s release as part of Mega Man X Legacy Collection 2*
You have to give credit where it’s due, Mega Man X7 tried to change up the Mega Man X franchise. The 2003 PS2 title turned the series into a 3D third-person shooter, only on occasion going back to the side-scrolling roots of its six predecessors. But the good intentions of breaking convention amount to very little with how poor Mega Man X7’s execution is.
While Mega Man X7 does try changing the gameplay, the structure of the series remains the same: after the opening stage, beat the eight main stages in whatever order the player sees fit, beat the bosses and get their powers, then move onto the final few stages. As stated, the gameplay has switched gears to a 3D perspective for the most part, but there are other additions and changes as well, perhaps the most baffling of which being that you have to unlock Mega Man X!
That’s right, you can’t play Mega Man X7 as Mega Man X until you’ve rescued 64 Reploids (out of 128) from the eight main stages. Instead, you start the game with two characters: the returning Zero, and newcomer Axl. Zero once again uses a close-ranged laser sword and can perform a double jump, while Axl uses an arm canon like X’s and can glide for a short time.
Problems arise almost immediately. You start the opening stage as Axl, and quickly find out that he (along with X when you unlock him) automatically targets enemies. So you basically just have to spam the fire button to get past anything. A simple ‘lock-on’ button would have gone a long way in making Axl and X’s gameplay feel less mindless. Zero, meanwhile, has to be so close to enemies in order to hit them that he’ll almost always get hit himself in the process.
X7 does try its hand at doing something else original in that you can select two characters at a time, who can be switched at the press of a button. But even this is poorly executed. For starters, both characters you choose have their own health bar, but if only one of them dies, you lose a life. Then there’s the fact that there are only three characters – one of which having to be unlocked – meaning that you’ll just have the party of Zero and Axl for much of the game, and will probably just swap one of them for X once you gain access to him. And since you once again build up the characters with items gained from rescued Reploids, you’re best off just building up one of the starting characters and holding off on the other in favor of X, or just building up the two starters and ignoring X. Wouldn’t this system have been better if all three characters were there from the start? Or at the least if there were additional unlockable characters who you recruited sooner?
Speaking of rescuing Reploids, Mega Man X7 somehow didn’t learn from the mistakes of X6. Like its predecessor, it’s possible to miss your opportunity at rescuing a Reploid, which would be forgivable if not for the fact that if you miss a Reploid you don’t get another chance to rescue them in the same playthrough of the entire game! This is somehow made even worse than it was in X6. At least the last time around, you had a few seconds to act before a ‘Nightmare Virus’ took hold of a Reploid, but here, they get killed by the smallest of touches by an enemy. I am sadly not exaggerating when I say there were multiple instances in the 2D segments where a Reploid was already dying as I made it to their screen. So once again you can easily miss out on getting every item and collectible in the game, unless you feel like reloading your last save over and over again until you have every fragment of a stage memorized.
The game simply isn’t fun to play. On top of the aforementioned ability of the gun characters basically just walking through a stage and blindly shooting, and Zero’s inability to hit anything without getting hurt himself, the characters all just move way too slow. It’s a bit of irony how Mega Man X began as the more fast-paced, action-packed iteration of the Blue Bomber, but by X7, he’s reduced to moving at a snail’s pace.
Even the level design is sloppy, though I suppose in fairness, X7 at least has the excuse of the developers entering new territory and fumbling. I guess that’s more forgivable than X6 being a failure at things the developers had achieved successfully time and time again. But that still doesn’t mean the stages are any good. On the plus side, some of them are at least built around a single motif (the Ride Armor level, the motorcycle level, etc.),which helps them stand out, but once again X7’s good intentions are sullied in the ‘finished’ product. The platforming stages are unmemorable, the motorcycle level is insanely slow (?!), and the Ride Armor Stage just falls flat. There’s also a stage in which players ascend a spiraling tower, which is an interesting change of pace, but of course it has to be ruined by constantly falling buzzsaws that you can seldom avoid, and flying enemies that are just above what’s visible on screen that hit you mid-jump and send you back to a previous point of the stage. It’s a mess.
While most Mega Man games are difficult, the only challenges you’ll find out of Mega Man X7 come from the clunky controls combined with the sloppy level design and horrendous camera. I’d be more in favor of a polished game that’s a cakewalk to a game that’s tough solely out of incompetence.
Even the story aspects fall short of the already diminishing narratives of the series. The story is that X has retired from combat, as he’s “tired of fighting” (which seems contradictory to a character who was determined to protect humans from evil robots. But whatever, I guess the game needed some reason why you need to unlock the main character). With X retired, a new force rises to help the Maverick Hunters defeat evil, Red Alert. But a mysterious evil – who may or may not be Sigma (not-so-spoiler alert: it is) – has slowly corrupted eight members of Red Alert, who have become violent as a consequence. Because of their new behavior, Axl leaves Red Alert and eventually joins Zero, while the “mysterious evil” blackmails Red Alert’s leader – aptly named Red – into doing his bidding or he’ll destroy the eight members who are under his control. It’s…not very good. And it’s made all the worse by some truly awful voice acting (Axl is particularly insufferable).
The fact that Mega Man X7 is a Mega Man title with terrible soundwork might be its biggest crime. The music isn’t exactly horrible, but it’s bland and forgettable in every regard. But the sound effects… The sound effects are either non-existent (such as when collecting items, which are completely silent), or annoying soundbites that are repeated ad nauseam. The aforementioned voice acting is terrible in cinematics, but it reaches new lows during boss fights, in which your foe screams the same one or two sound clips every time they do, well, anything.
Anyone who has played Mega Man X7 knows the audial hell that is the boss fight against Flame Hyenard. This Maverick shrieks two lines: “Burn!” and “Burn to the ground!” every time he performs an action. And he makes two copies of himself which do the same. Suffice to say it’s an utter bombardment on the ears, with soundbites frequently overlapping each other. It’s so stressful that it may make Mega Man X7 the worst sounding game I’ve played since Dark Castle on the Sega Genesis.
Visually, the game of course looks dated, but considering X7 was released in the same year as such visually stunning games as The Wind Waker and Viewtiful Joe, it looked outdated even for its time. At the very least, the game boasts enough variety in colors that you can at least tell what everything is. I can’t imagine how the game would be playable if things blurred together on top of all its other issues.
Mega Man X7 is simply an appalling embarrassment on one of gaming’s most iconic franchises. Perhaps in its conception, its heart was in the right place, as it attempted to do something different for the series by doing something different. But it must have quickly fallen apart at the seams for it to end up this bad. Just about anything good you could say about it only applies in concept. Yes, Mega Man X7 tried something new, and that’s admirable. But it’s next to impossible to appreciate when the finished product feels, well, unfinished.
Or to put it another way…
BURN! BURN TO THE GROUND! BURN! BURN! BURN TO THE GROUND! BURN! BURN TO THE GROUND! BURN TO THE GROUND! BURN! BURN! BURN! BURN! “BURN TO THE GROUND!