Luigi’s Mansion Review

Nintendo was in an interesting place in 2001. Though the Nintendo 64 helped revolutionize gaming (namely due to Super Mario 64 and The Legend of Zelda: Ocarina of Time), its sales numbers paled in comparison to the Sony Playstation. And with the Playstation 2 releasing in 2000, it’s safe to say that the GameCube was in a hurry to get out the door as soon as possible. As such, this meant that the GameCube’s signature Mario game, Super Mario Sunshine, would miss the console’s launch, marking the first time Mario wasn’t present to cut the ribbon on the dawning of a new Nintendo console.

To fill that void, however, Nintendo had a separate game set within the Mario universe to make the GameCube’s launch. But it ended up being quite different from any other game set in the world of the Mushroom Kingdom. The game in question was Luigi’s Mansion, a kind of spoof on the survival-horror genre that marked the first official game in which Luigi received the starring role (wiseacres are quick to point out the existence of Mario is Missing from years earlier, but that title was an edutainment game that wasn’t developed by Nintendo, so it doesn’t count). Although Luigi’s Mansion never boasted the depth of Mario’s adventures, Luigi’s first proper solo outing nonetheless provided enough unique ideas and personality that it retains a charm of its own.

The initial concept for what would later become Luigi’s Mansion at first starred the more famous Mario brother, with the idea being to place Mario in a singular indoor setting. Originally conceived as a Japanese-style castle, the setting eventually became an American-style haunted house. With the change in setting, Nintendo decided to promote Luigi to be the star of the game for one very simple reason: Mario was known for being brave and adventurous, but now was the time to showcase Luigi’s personality, whose constance presence in his brother’s shadow made him easy fodder for a ‘reluctant hero’ character.

Though audiences saw glimpses of distinct personalities between the Mario Bros. through their television series and books, there was never any official, concrete characterizations between Mario and Luigi by Nintendo themselves in the formative years for the video game series. If Mario was the brave hero who would leap into action at the first chance, then it just made sense that Luigi would be the series’ ‘Cowardly Lion,’ as he shares a similar heroic spirit as his brother, but it’s buried far, far deeper. So it was a natural fit to have Luigi be the one to traverse a haunted mansion, facing his many fears as he tries to rescue Mario.

Luigi’s Mansion might be the first Nintendo game to be centered around one of their character’s personalities, and it remains one of their most successful attempts (the less said of Metroid: Other M, the better). Nintendo’s critics often deride the developer for a supposed “lack of character,” but that’s a gross misconception. While it’s true Nintendo rarely prioritizes actual storytelling and their characters tend to not have complex backstories (probably for the better. I again refer you to Other M), many of their characters are bursting with personality in a similar vein to classic cartoon characters like Mickey Mouse, Bugs Bunny and Popeye the Sailor Man. Luigi’s Mansion is a fine example of this. Between Luigi’s constantly chattering teeth (which kind of makes him look like Wallace from Wallace and Gromit), shaky knees, and nervous humming of the game’s catchy theme tune, Luigi’s Mansion showcases its lead character’s personality – while simple and exaggerated – to be thoroughly entertaining.

It simply wouldn’t have been as good if it were Mario braving the haunted halls of its mansion. The game and its lead character both benefit one another in such a way that you wish more of the story-focused games of today would attempt to replicate that connection, as to avoid the common pitfall of gameplay conflicting with narratives and character motivation.

Even with Luigi’s personality leading the charge, gameplay is still at the forefront of Nintendo’s designs. And although it shows its age in certain areas, for the most part, Luigi’s Mansion remains a uniquely fun and charming game even today.

As mentioned, the game is all about Luigi trying to save Mario, who has gone missing in the new mansion Luigi supposedly won in a contest he never even entered (red flag there, Luigi). The mansion is, of course, littered with ghosts. Luckily for Luigi, Professor E. Gadd – a lifetime researcher of ghosts – has been studying the mansion, and gives Luigi his ghost-catching vacuum, the Poltergust 3000.

Yes, the gameplay is more reminiscent of the 1984 Ghostbusters film than it is any of its Mario series predecessors (Luigi can’t even jump in the game). Equipped with only the Poltergust and a flashlight, Luigi traverses the mansion fighting ghosts. The flashlight will stun ghosts, exposing their heart, which allows Luigi to suck them up into the Poltergust.

One of the most fun things about Luigi’s Mansion is the act of catching ghosts itself. The player of course moves Luigi with the standard joystick. But Luigi aims the Poltergust and flashlight with the GameCube controller’s ‘C-stick.’ If a ghost caught in the Poltergust’s whirlwind changes direction, the player will have to accommodate and pull the direction opposite to that which the ghost is heading, occasionally cutting some slack so Luigi can avoid a potential hazard in his way as the ghost pulls him along the ground. Essentially, it’s like an elaborate fishing game used as a combat mechanic.

It’s simple fun with the standard enemies, but the real treat comes in the form of the “Portrait Ghosts;” unique mini-boss-like specters whom the mansion’s many chambers are built around. Each Portrait Ghost has different tells and weaknesses, and can provide real tests of endurance for the player.

The Portrait Ghosts are memorable not just for how each one provides their own little puzzle for the player to solve, but also in their personalities and design. Most of the Portrait Ghosts are more humanoid than what we usually see in the Mario universe (keep in mind this was sixteen years before Odyssey brought realistic-looking humans into the fold), and although it would be difficult to call the game truly scary, the Portrait Ghosts’ appearances do make the game feel appropriately spooky and (relatively) darker than the usual Mario title. The mansion itself could be considered a character in its own right, given its strong sense of place.

It may not match the combination of cartoony characters with a dark and dreary atmosphere of Donkey Kong Country 2, but Luigi’s Mansion is probably the only other game I can think of that warrants a comparison in that regard. Luigi’s Mansion’s eventual 3DS sequel, though arguably an improvement in certain respects, lacks the original’s sense of atmosphere and character.

Luigi’s Mansion could be described as a “Diet Metroidvania,” with Luigi gaining access to more chambers of the mansion as he continues to capture Portrait Ghosts. Though perhaps one of the game’s drawbacks is that it could have taken an extra page from the Metroidvania sub-genre and had Luigi (or the Poltergust, as it were) gain new abilities to access more of the mansion, instead of it merely being a case of defeating sub-bosses for keys. The Poltergust does gain the ability to emit fire, water and ice, but they unfortunately never get utilized in any substantial way.

Another fun aspect of Luigi’s Mansion is finding the many treasures hidden throughout the titular abode. While Mario is always grabbing coins, here, Luigi is on a quest for coins, pearls, dollar bills, gemstones and diamonds. Though gaining these riches does little more than effect your score at the end of the game, it still proves to be a fun diversion to see how much treasure you can collect.

The biggest complaint most people seem to have with Luigi’s Mansion is its short length. If you know what you’re doing, the game can be completed in about the time it takes to watch a movie. Luigi’s Mansion could have done with just a couple more hours of gameplay, as some of its ideas don’t meet their full potential with the little time they’re allowed to have. On the plus side, I suppose the game’s brief time makes it one of the few titles in the medium that can be seen as a holiday tradition with annual playthroughs (Halloween in this instance, obviously).

Luigi’s Mansion was one of the earlier Nintendo titles to feature a New Game Plus mode after completing the campaign. Unfortunately in both its Japanese and US release, the differences between the main game and New Game Plus are little more than some stronger enemies and a weaker Luigi. The PAL version of the game (released well after the other versions) rectified this somewhat by making the post-game version of the mansion mirrored and changing the locations of certain treasures, but even that only goes so far. So unless you missed out on some treasures, or just really want to beat your high score, there’s not a whole lot of reason to play through the “Hidden Mansion” mode.

The short running time of the campaign is unfortunate, but it’s not the game’s biggest issue. Though the GameCube has aged better than the Nintendo 64 on the whole, it’s earlier titles still suffer a bit from the same kind of technical hiccups that plagued its 64-bit predecessor. And Luigi’s Mansion is no exception.

Some of the controls feel a little clunky, particularly in regards to handling the flashlight in conjunction with everything else. The flashlight is turned on by default, and pressing the B button turns it off. You turn Luigi around and aim the Poltergust with the C-stick, and you suck up ghosts with a press of the R button. And while the flashlight stuns the ghosts, you have to stun them at the opportune time, or else they’ll disappear. It can feel a bit awkward to turn Luigi around and aim the Poltergust while holding the B button to keep the light off and then release it to turn the light on when the time is right, especially in rooms with multiple ghosts.

Along with the standard enemies and the Portrait Ghosts, the Mario series’ classic ‘Boo’ enemies show up as the primary baddies. While seeing these secondary foes get a promotion in the same vein as Luigi is nice, there are some issues with the Boos’ presence in Luigi’s Mansion. The game features fifty Boos hidden throughout the mansion. But unlike the other ghosts in the game, Boos ignore the aforementioned “fishing” aspects of the catching process, with Luigi simply focusing the vortex of the Poltergust on Boos to drain their hit points.

That may not sound too bad, and at first it isn’t when the Boos have less hit points. But once you you realize Boos can travel from room to room, and they start getting more hit points, thus giving them more opportunities to do so, it gets a bit tedious chasing a Boo from one room to another, and downright frustrating when they exit a room to go into the hallway and back again repeatedly. It’s also a bit disappointing that, despite the game claiming there are 50 Boos in the mansion to be captured, there are technically only 35, since 15 of them are automatically captured as part of a single boss fight.

Another note Luigi’s Mansion should have taken from Metroidvanias is the implementation of fast-traveling. The game can only be saved by talking to Toads (who are perhaps a bit too far spread out from one another), or after catching a Boo. While the Toads save your game, they don’t act as checkpoints. Every time you reload your game, or defeat a boss, or die, you start back at the foyer of the mansion. Although you can return to the foyer by scanning mirrors, there’s no means to fast-travel anywhere else in the mansion. As you might imagine, backtracking to different sections of the mansion can quickly feel arduous.

Though these aspect do show that the game has aged a bit, the core gameplay, along with its undeniable sense of character, have helped Luigi’s Mansion remain a fun and delightful experience nearly two decades later. It is perhaps the perfect launch game the GameCube could have hoped for (if maybe not the one it sorely needed), as Luigi’s Mansion echoes the console itself in many ways. The GameCube may not have been the success story Nintendo was hoping for in the Playstation dominated market of the time, nor is it one of Nintendo’s more iconic or innovative consoles. But it has a unique appeal of its own, a small-scale charm that’s aberrant  among Nintendo systems.

Just the same, Luigi’s Mansion – though far, far away from being one of the best games set in the Super Mario universe – remains a unique and appealing offshoot of Nintendo’s flagship franchise. We may not have realized it in 2001, but in hindsight, Luigi’s Mansion seems to have encompassed the GameCube’s place in Nintendo’s history right out of the gate.

 

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The Legend of Zelda: Link’s Awakening (Switch) Review

The Legend of Zelda is arguably the most beloved video game series of all time, and few of its entries are as cherished as Link’s Awakening. Though it was the fourth installment in The Legend of Zelda, it was the first to be released on a handheld console. One of the main reasons Link’s Awakening built such a strong reputation for itself was due to it retaining the series’ sense of depth and exploration, despite being released on the original Gameboy in 1993.

Keep in mind this was still a time when a series being translated to a handheld system meant the compromise of its quality (even Mario didn’t quite feel like Mario on the Gameboy). So the fact that Link’s Awakening still very much felt like The Legend of Zelda was a stunning achievement in itself in 1993.

“Bonus points for the hand-drawn, anime cutscenes.”

Link’s Awakening started development as a port of the Super NES classic, A Link to the Past, released one year prior. But somewhere along the line, it became its own beast. Though it couldn’t quite reach the same heights as its SNES predecessor, Link’s Awakening still managed to capture a good deal of its magic, and has certainly held up better than the NES Zelda titles. The title proved so popular that when Nintendo released the GameBoy Color in the late 90s, one of its biggest selling points was a re-release of Link’s Awakening in 1998.

Now, twenty-one years after its GameBoy Color release, Link’s Awakening has been remade from the ground up for the Nintendo Switch, in what is undoubtedly the definitive version of the beloved title.

It’s a match made in heaven, really. Link’s Awakening played a pivotal role in Nintendo’s earlier years in handheld gaming, being one of the few games on the original GameBoy that most would agree felt as big as a home console title. And with the Nintendo Switch being a hybrid of a home console and a handheld, few Nintendo classics would be so fitting for a Switch remake.

2019’s Link’s Awakening is a beautiful recreation of the 1993 GameBoy classic. Taking on a toy aesthetic, this Switch version features character models that resemble Gashapon figures, and environments that look like dioramas. The art direction is oozing with charm, making it baffling how some sections of the Zelda fandom cried foul when the visuals were first revealed (you’d think Zelda fans would have learned their lesson by this point). The art style, combined with the HD sheen of the Nintendo Switch, make Link’s Awakening look right at home in 2019. There are admittedly a few frame rate drops here and there, but nothing too bad.

“Oh no not the bees! AAAAHHHH! They’re in my eyes! They’re in my eyes! AAHHH!”

On the gameplay side of things, Link’s Awakening on Switch features the same timeless gameplay to be expected from 2D Zelda titles post-A Link to the Past. Link is every bit as fun to control as ever. But there are even a few modernized improvements made to Link’s Awakening where needed, the most prominent of which being that Link’s sword, shield and upgrades are permanently equipped once gained. This is something of a godsend, as the limitations of the original GameBoy’s hardware meant players had to constantly be switching out Link’s items and abilities. But with the Switch’s extra buttons, Link is easily able to keep hold of his standard items and abilities, as well as equip two ‘special items’ gained from dungeons at any given time.

Perhaps the only questionable decision with this modernization is that the Roc’s Feather item, which allows Link to jump, isn’t among the permanent abilities, and still has to be equipped like the other special items. This is questionable because, with how fundamentally useful the ability to jump is, you’ll almost always have Roc’s Feather taking up one of your two item slots. The Pegasus Boots – which allow Link to dash at great speed – become automatically linked to a specific button without needing to be equipped. Roc’s Feather probably could have used the same treatment, seeing as I found myself with it equipped for almost my entire playthrough.

“All the monsters say I’m pretty fly, for a Slime Eye!”

Other changes made to the game include more collectibles to give the side quests some extra heft. The total Heart Pieces to be found in the game has increased from the mere twelve found in the original GameBoy version to thirty-two, while the Secret Seashells have gone from twenty-six to a whomping fifty that can be collected. Though simple, searching for the Heart Pieces and Seashells prove to be fun diversions to the main quest.

Perhaps the biggest brand new addition to Link’s Awakening is the inclusion of a dungeon editor. Before you get too excited, it has to be said that the dungeon editor is incredibly limited.

“Most of your edited dungeons follow a preset layout, but eventually you can unlock the ability to piece them together with more freedom.”

By visiting Dampé, players can edit their own dungeons by utilizing chambers collected from the dungeons the player has completed throughout the game (the main quest retains its eight dungeons, and the optional “Color Dungeon” from the GameBoy Color release makes a return). On the plus side, putting a dungeon together from pre-existing rooms and making it all make sense has a fun puzzle element to it. On the downside, the player doesn’t have the ability to edit anything about the chambers themselves. The player can’t place doors, decide what enemies to litter about or what walls can be destroyed with bombs, or even choose what rewards await in treasure chests (if your dungeon ends up having a certain number of locked doors, the chests will at first provide the number of keys required to unlock them all, then have a random amount of Rupees, with the final chest opened always containing the boss key).

Again, the dungeon editor can be fun in its own right, but don’t get your hopes up that it’s the Zelda equivalent of Super Mario Maker (though here’s hoping its presence is something of a test run for just that).

“Dude, I forgot this game had a walrus in it! 10/10.”

Aside from being a standout game on a handheld platform in the early 90s, another reason Link’s Awakening holds such a fond place for many is that it’s quite possibly the weirdest Zelda title. Taking inspiration from Twin Peaks, Link’s Awakening sees Link stranded on Koholint Island, where he must collect the eight Instruments of the Sirens in order to awaken “The Wind Fish” (who is actually a whale) – the island’s deity – who is in a deep slumber inside of an egg on top of a mountain (as whales do), if he ever wants to escape the island.

Not only is the story delightfully weird (and being one of the earliest games in the series, it’s also refreshingly absent of that convoluted “Zelda timeline” nonsense), but Link’s Awakening is also a ‘weird’ entry in that it features many elements from the Super Mario series (as well as a Kirby cameo).

“He does exist!”

While Mario and Zelda have always referenced each other – seeing as they’re the two series most strongly associated with the Nintendo name, and both originally spawned from Shigeru Miyamoto’s mind – Link’s Awakening took things to another level by directly featuring enemies and characters from the Mushroom Kingdom and a profuse amount of side-scrolling sections that pay homage to Mario’s early adventures. Many fans were worried that – much like the Superstar Saga remake on 3DS was absent of a certain cameo found in its original GameBoy Advance version – that the Mario elements would be removed or downplayed in this Switch remake. Thankfully, not only are the Mario cameos and references in full force (complete with the first 3D appearance of Super Mario Bros. 2’s Wart), but Nintendo even doubled down on them with a new side quest focused on collecting Mario figurines. There’s just something about the Mario series that makes the presence of its characters add a little more fun to any game. 

Although the writing may not necessarily be anything to write home about, the Twin Peaks influence definitely shines through in some wacky dialogue and the overall strangeness of the adventure, an influence which I like to think has carried over to subsequent entries in the Zelda series, given its often bizarre characters. That weirdness started here, and perhaps (sadly) hasn’t been outdone by subsequent Zeldas.

“Hi there! Face here! Bur bur BUR!”

Now I have to make a confession, I was never the biggest fan of Link’s Awakening back in the day. It was certainly a considerable improvement over the NES Zelda games, and I loved that aforementioned weirdness of it all, but for one reason or another, it never quite clicked with me in the same way A Link to the Past and some later Zeldas did.

That’s all changed with this Switch remake, which has won me over to Link’s Awakening so strongly, that I would probably now rank it among my favorite Zelda games. The adventure is long and deep enough to feel rewarding, but short enough as to not overstay its welcome. To think that this game was originally a GameBoy title is somewhat baffling. Sure, it’s still on the “smaller” side of the Zelda series, but it was so big back in its own day that Link’s Awakening still feels like a meaty addition to any Switch library.

I’m not sure whether this remake has simply opened my eyes to Link’s Awakening’s full merits, or if its changes and additions have made the game that much better (again, that art style!). Maybe a bit of both.

Whatever the case, Link’s Awakening  on Switch is an ideal video game remake and, quite fittingly, something of a dream come true.

 

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Wario Blast: Featuring Bomberman Review

Despite having originally been released in 1983, Bomberman is a timeless game, comparable to Tetris or Super Mario Bros. in this regard. Like Tetris, Bomberman is the kind of game that’s held up well enough that it could be ported to any modern console or device and be justified in doing so. And like Super Mario, it has produced numerous sequels in the decades since its original release.

But Bomberman sits somewhere between Tetris and Mario. Tetris is still released on every available platform to this day, and Super Mario Bros. – though holding up well on its own merits – has been bettered multiple times over by its sequels. Bomberman, meanwhile, has seen many iterations through the years, and while some of them have added a lot to the formula (Saturn Bomberman being a particular highlight), many of its sequels are so close to the original that they can feel more like ports.

That brings us to Bomberman GB. As its name implies, Bomberman GB was to be the Gameboy edition of the series. Released in 1994, Bomberman GB successfully brought the classic Bomberman gameplay to the handheld. But for the game’s release outside of Japan, Bomberman GB was given a slight makeover. Hudson Soft (Bomberman’s now-defunct original developer) and Nintendo decided to add one of the latter’s characters into the game, and chose to use Wario, the comically villainous “anti-Mario” who had debuted two years earlier in Super Mario Land 2 and quickly became one of Nintendo’s most iconic characters.

The end result was Wario Blast: Featuring Bomberman, a game which successfully translates the Bomberman gameplay to Nintendo’s Gameboy handheld, but doesn’t do too much more than that. Though Wario Blast is fun, it’s far from the best Bomberman game, and the fact that Wario’s presence in the title is simply cosmetic means his addition – while welcome – isn’t exactly meaningful.

Like any traditional Bomberman game, the goal is to eliminate all of your opponents on the battlefield. Your weapons are (quite obviously) bombs, which you use to destroy obstacles in your path, and ultimately try to blow up your opponents. The bombs explode in lines that travel in four directions, and you are susceptible to your own bomb blasts, meaning you’ll often have to take cover behind walls to avoid destruction by your own hand, as well as your enemies’.

Some of the usual Bomberman power-ups also return, and can be found after destroying certain obstacles. The bomb power-up allows you to plant an additional bomb on the field (one extra bomb for every power-up gained), while the fire power-up increases the range of your bombs’ explosions (making it easier to destroy your foes…and yourself). There is also a skull power-up, which is something of a double-edged sword. At first, the skull power-up seems purely bad, as it temporarily removes your ability to plant bombs (as well as the character skills you learn as the game progresses). But on the plus side, if you’re crafty enough, touching an opponent while under the effects of the skull will remove their ability to plant bombs as well. And if you infect an enemy with the skull, its negative effects will wear out on you before them, making for an easier target.

In a nutshell, it’s Bomberman, but on the Gameboy. On the plus side, Bomberman is one of the few games that could be translated onto the original Gameboy and not feel like it’s sacrificing the series’ quality for the sake of portability. On the downside, it’s Bomberman… but on Gameboy. That’s all well and fine, except unlike Tetris, this isn’t supposed to be a port, but is instead one of Bomberman’s less creative sequels.

There are some changes, with the most prominent (aside from Wario’s mug being added to the game) being that the rest of Bomberman’s usual items (such as the ability to kick your bombs forward) are now instead permanent abilities that are learned after defeating bosses.

There are eight worlds in the game, each comprised of four stages (again, bringing Super Mario Bros. to mind). The first three stages of each world are the traditional Bomberman battles (the first against a single opponent, the second against two, and the third against three), which are played in best two-out-of-three rules. The fourth stage of each world is the boss stage.

“Of course I’m going to pick Wario in WARIO Blast.”

Though the game allows you to play as both Bomberman and Wario, the change really is purely cosmetic. The only difference is Bomberman’s non-boss enemies are Wario clones, and Wario’s are Bombermen (additionally, the passwords for each stage differ between the two characters). And considering these are Gameboy sprites we’re talking about, the cosmetic change only goes so far (though in all honesty, just play as Wario. You can play as Bomberman in any Bomberman game, so you may as well play Wario and benefit from the crossover aspect).

Though the game is short (it probably won’t take much longer than an hour), the fact that each world introduces new stage gimmicks means there’s some fun variety throughout. And I enjoy the two-out-of-three nature of the stages. Though even with these benefits, Wario Blast does feature some unfortunate shortcomings.

One of the big issues is that – with the abilities gained from the first few bosses – the player quickly becomes overpowered. I can accept the usual power-ups from the series are made into learned abilities (though there’s also an argument to be made that aspect in itself takes something away from the experience), but one ability which sees the player learn how to dash an enemy against a wall to stun them makes the proceedings way too easy. The early stages will see the AI try to outmaneuver you (to varying degrees of success). But in later stages, you can just pick up bomb and fire power-ups as you go, and once you run into an enemy, just dash them into a wall and plant a single bomb for an easy win.

Another problem is that there’s an awkward few seconds after your opponents have been defeated where you can still potentially die before the victory screen is displayed. You’d be surprised how often you’ll end with a draw and add another round to the best two-out-of-three because of it.

While Wario Blast may have a number of elements holding it back, I have to reiterate that the classic Bomberman gameplay will always be fun. And sure enough, Wario Blast: Featuring Bomberman is a rare example of a Gameboy title that’s still fun to play today. But Wario Blast does suffer from being one of the more basic Bomberman sequels, offering little to the experience that you couldn’t find in every other Bomberman title.

Perhaps the biggest missed opportunity of Wario Blast, however, is the simple fact that Wario’s inclusion in the game was merely shoehorned into the game’s international release. Perhaps if Wario Blast lead to some follow-ups of its own that integrated Wario’s presence into the proceedings in more meaningful ways relating to gameplay or level design, it would be easier to look past Wario Blast’s underutilization of its namesake character. But because this was the beginning, middle and end of Wario butting heads with a third-party character, it’s more than a little disappointing that the game never had a real chance at fully delivering on its concept.

Think about it, what better video game character is there to go toe-to-toe with various gaming heroes than Wario? Super Mario is the face of gaming, so it only makes sense that the “anti-Mario” would try to sabotage other people’s games and try to slap his face on them. Hudson Soft and Nintendo could have been onto something here with Wario Blast. Sadly, instead of seeing Wario face off with Bomberman again, or try to hijack Mega Man, Castlevania, or any other series, it all ended just as soon as it began. By the time Bomberman GB 2 made its way westward, Wario was nowhere in sight…

But hey, Wario Blast is still fun. And that definitely counts for something.

 

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Banjo-Kazooie: Grunty’s Revenge Review

I love Banjo-Kazooie. I love the Gameboy Advance. This makes it so disheartening that Banjo-Kazooie’s oft-forgotten GBA spinoff – Grunty’s Revenge – is forgotten for a reason. Despite a surprisingly accurate translation of the gameplay from Banjo-Kazooie’s N64 duology at first glance, Grunty’s Revenge boasts none of the depth of its predecessors, and ranks as the worst game the bear and bird duo have starred in (yes, even Nuts & Bolts had more going for it).

Strangely, Banjo-Kazooie: Grunty’s Revenge was the first game released by developer Rare after they had been purchased by Microsoft. The game had gone through a few different development phases over a couple of years, and by the time Rare became Microsoft’s property, Grunty’s Revenge was too far in production to scrap entirely. Thankfully for Rare, Microsoft’s lack of a handheld gaming platform meant they could still legally release the game on Nintendo’s handheld, but required a middleman publisher since neither Microsoft nor Nintendo could do the honors (which seem so silly in retrospect, now that we live in a time when Xbox Live can be played on Nintendo Switch). THQ ended up being that publisher, and Banjo-Kazooie: Grunty’s Revenge saw release in 2003, to little advertisements and fanfare.

To bring in a bit of personal history, I didn’t even know about the existence of the game ahead of its release. I just opened one of my birthday gifts that year, and lo and behold, Banjo and Kazooie were in a Gameboy Advance game…apparently. I was excited, to be sure. But it didn’t take very long into the game to realize that Grunty’s Revenge was something of a step backwards for handheld gaming, harkening back to the times of the original Gameboy when the transition of a franchise to a handheld usually meant the compromise of its quality. Consider how well so many of the Gameboy Advance’s titles have held up over the years, and Banjo-Kazooie: Grunty’s Revenge’s flaws are only magnified with hindsight (Mario & Luigi: Superstar Saga was released the very same year on the GBA, but you’d never know it from the difference in quality between the games).

When you first start the game, it looks promising. Even though the GBA didn’t have the power to recreate a full-on 3D platformer in the vein of the N64 Banjo-Kazooie titles, Grunty’s Revenge still does a solid job at finding a way to translate the series’ gameplay to the handheld. Grunty’s Revenge takes on an overhead camera view, and uses pre-rendered character models (a la Donkey Kong Country), which faithfully recreate the characters and enemies from the N64 games. And despite the GBA’s relatively few buttons (A and B on the face of the system, plus two shoulder buttons), Grunty’s Revenge even does a pretty good job at making Banjo and Kazooie’s moves feel reminiscent of their classic N64 outings. Even the iconic gibberish voices return!

But those similarities are short-lived, unfortunately.

The game begins with a rather rushed story. Sure, the Banjo-Kazooie games were never a story-focused series, but they had humorous writing, charming characters, and strong production values for the time. But here, the story just kind of happens on itself, and the game never really capitalizes on its concept.

Taking place between Banjo-Kazooie and Banjo-Tooie, Grunty’s Revenge sees the titular witch Gruntilda – still trapped under a boulder after the events of Banjo-Kazooie – transfer her ghost into a robot body made by her henchman, Klungo. She then kidnaps Kazooie, and travels back in time (whether by her magic or the new robot body is anybody’s guess), in an attempt to stop Banjo and Kazooie from ever meeting, thus ensuring they would have never defeated her in the first place. Thankfully for Banjo, the witch doctor Mumbo Jumbo had witnessed the whole thing, and uses his magic to send Banjo to the same, vaguely-implied time period as Gruntilda.

Like the Banjo-Kazooie games proper, the goal is still to collect Jiggies (10 on each stage) and Musical Notes, the latter of which are used to purchase moves from Bozzeye, a mole who is an ancestor of both Bottles and Jamjars, who played a similar role in Banjos Kazooie and Tooie (respectively).

Aside from the presence of Bottles’ nondescript ancestor, there’s really nothing in the game that takes advantage of the time travel plot. The stages (of which there are five, along with the hub of Spiral Mountain) all follow standard themes and environments for the genre and series (farmland, beach, swamp, harbor and a fire/ice hybrid). In Banjo-Tooie, we got a dinosaur world, and that game didn’t even feature time travel. And that same game featured an infinitely better fire/ice hybrid world. What about the worlds of Banjo-Kazooie: Grunty’s Revenge so much as implies the game takes place in the characters’ past?

Wouldn’t it have been neat if the stages were direct adaptations of those from the N64 games, but with twists that showcase how they take place before the events of those games? For example, maybe you could visit Mumbo’s Mountain from Banjo-Kazooie, and the giant termite mound from that game is still under construction. Or maybe you could revisit Rusty Bucket Bay at a time before it became overwhelmed with pollution? Grunty’s Revenge is already re-using level themes from the previous games, anyway. Why not make it literal and find a way to capitalize on the time travel setup of the story?

As stated, the game actually does a decent job at bringing the series’ gameplay to the GBA, but the more you play Grunty’s Revenge, the more you realize how stripped down it is. Sure, the translation to a handheld system back in 2003 was going to come with a few expenses. But this sadly isn’t a simple case of a simplified Banjo-Kazooie on the go (that might have actually been pretty sweet). As stated, Grunty’s Revenge harkens back to the days of the original Gameboy, when a popular franchise making its way to a handheld device meant it’s quality was going to suffer.

“Also the boss fights suck, largely due to their lack of creativity and challenge, and their sheer repetition.”

The levels are just too empty, and the objectives too mind-numbingly simplistic. The N64 Banjo-Kazooie games did a great job at making the experience feel like an adventure, but Grunty’s Revenge just feels like it’s going through the motions with no rhyme or reason.

Even the moves Banjo and Kazooie learn from Bozzeye are just ones they already learned in the previous games. The only real difference is how you start the game with Banjo on his lonesome. But even that feels underplayed. Wouldn’t it have made for a more unique game if the player had to continuously switch between playing as Banjo and Kazooie? If you’re going to separate the two characters (and not manually, as in Banjo-Tooie), might as well roll with it and take advantage of the concept.

I can’t believe I’m going to say this, but there is actually one thing that Grunty’s Revenge does better than its otherwise far superior N64 predecessors. And that’s how, this time around, the different transformations provided by Mumbo Jumbo carry over to subsequent levels once unlocked. This means that the transformations actually have more uses here, since you’ll have to revisit Mumbo’s hut in a particular stage to utilize a different transformation in order to nab a Jiggy or two. Though it must be said that even this element suffers from a lack of communication to the player, as one stage features a Jiggy that needs a later transformation to obtain, with the game never even hinting that to be the case (going back to my personal history with the game, I gave up on it for a time back when I was younger because of this segment, in which I had no earthly idea what I was supposed to do). The  real Banjo-Kazooie games could get a little cheeky and have a character (or google-eyed object) tell you when something was meant to be revisited at a later time. While that may be a bit overt, it’s certainly a better option than leaving the player entirely clueless. And while in concept, the idea of Mumbo changing you into any available form on a given level is an improvement for the transformation concept, it still never reaches its full potential for the aforementioned reason that the objectives themselves feel so uninspired.

Banjo-Kazooie: Grunty’s Revenge isn’t a total waste. As previously stated, the visuals find a way to bring the look of the N64 games onto the GBA with surprising accuracy. Similarly, the music captures the familiar charm of the real Banjo games. And the initial feeling of the controls is how you would imagine Banjo-Kazooie should play on the handheld system. But Grunty’s Revenge ultimately stumbles because of how far it misses the target on any of its concepts.

That initial feeling of “this is how Banjo-Kazooie should play on a handheld” quickly fades away as you realize that accuracy only exists on face value. It soon becomes apparent that Grunty’s Revenge fails to realize what made the Banjo-Kazooie games so memorable to begin with, and just coughs up a cheap imitation of what a Banjo-Kazooie game should be. The setups of time travel and separating the heroes don’t come into play in either the story or the game itself in any meaningful way.

Grunty’s Revenge is only kind of Banjo-Kazooie. Just enough to pique the curiosity of my younger self back on my 14th birthday, but not nearly enough for it to live up to the bear and bird duo who adorn its title. It’s not even in the same ballpark.

 

4

Wario’s Woods Review

*Review based on the NES version of Wario’s Woods, as released on the New Nintendo 3DS Virtual Console*

Wario’s Woods was released simultaneously on the NES and SNES in 1994 (being the last officially licensed game released on the former). Unfortunately for Wario’s Woods, it saw very little attention in its day, seeing as gaming was well into the 16-bit generation, meaning the NES version went under the radar, while the SNES version was released amid many more high profile games. That’s more than a little bit of a shame, because Wario’s Woods brought an interesting twist to the falling-block puzzle genre.

Working as something of a cross between Tetris and Dr. Mario, Wario’s Woods sees players try to eliminate multi-colored monsters from a playing field. Getting rid of these monsters will require the aid of similarly colored bombs. By lining up a row of at least two monsters and one bomb of the same color (either horizontally, vertically or diagonally), you will destroy the monsters. If you can create a stack of at least five objects of the same color (again, with at least one bomb required), the eliminated monsters will leave behind a colored gem. If you line up monsters or bombs with a gem of the same color, every object of that color will be removed from the playing field instantly.

Be weary, if you can’t keep chains of eliminations going fast enough, Wario will appear above the field for a short time, summon more monsters, and lower the ceiling, decreasing the amount of space you have to work with (the ceiling can be raised, as you may have guessed, by completing more rows).

It may sound like standard fair for the genre, but the big twist Wario’s Woods brings to the table is that you manually control an on-screen character. Taking inspiration from Super Mario Bros. 2, Wario’s Woods pits Toad in the spotlight (well before he earned the title of ‘Captain’), who has to pick up and place the monsters and bombs under direct control of the player.

Toad can lift and drop whatever object is in front of him with a push of the B button, and can lift and drop an entire stack of objects with the press of A. Toad can of course only lift things that are level to him, but has slightly more leeway when dropping them (three squares of the playing field above his head). He can even kick an object to the next open space by pressing down on the D-pad along with one of the key buttons. Toad can also drop items/stacks directly underneath himself, and objects Toad is currently holding will also count towards a completed row should it match up. Mechanics like this can really be lifesavers if you find yourself sinking down the board amidst the rising stacks of monsters. Unfortunately, the aforementioned gems are too heavy for Toad to lift, meaning the player will have to get extra crafty if they want to take advantage of their ability.

It sounds pretty simple, but it’s pretty incredible how addicting the gameplay can get. This is one of those games that you can seriously lose track of time with. Wario’s Woods even keeps things fresh as you push further through the game, introducing monsters that can only be eliminated with diagonally-placed rows, and monsters that require to be part of two completed rows in quick succession in order to be vanquished.

The game consists of two different versions of its story mode (oddly referred to as “Round Game”), categorized as “A Mode” and “B Mode.” Both versions feature 100 courses, with the only difference I can tell being that the B game features boss fights. This is a game that doesn’t mess around, either. Wario’s Woods can get brutally difficult at times, with some levels seemingly punishing the player with certain death over one slight miscalculation.

It’s pretty long for a falling-block puzzler, especially on NES. Fortunately, this was one of the few games on the NES with a save function, with every fifth level working as a checkpoint for the player’s progress (with every completed fifth level being selectable thereafter). The downside to this is that if you’ve completed four straight levels and lose on the fifth, you’ll have to go through the previous four all over again. You can obtain continues which can be used to replay the current stage upon defeat, but you can only do so by collecting 30 coins. And you only get these coins if you complete a stage fast enough (every time Wario’s ugly mug shows up, 20% of the stage’s possible coins are deduced). So most continues you get will be obtained in the early stages. Because, again, this is one tough puzzle game. Only the most diehard puzzle fans will consistently claim coins in the game’s later stages.

The difficulty in claiming continues may be off-putting to some, especially considering the game’s already steep learning curve (okay, the basics are simple, but mastering them well enough to finish the stages quickly while avoiding Game Overs is another beast entirely).

One cumbersome element takes place when the objects fill the screen and the ceiling falls to the point that Toad can only move horizontally in a crawlspace equal to his size. You kind of wish, in these specific instances, that Toad could swap positions with the object directly in front of him. Because at this point, the game is essentially over, unless an enemy/bomb spawns in just the right spot to complete a row out of sheer luck. Some might say this is in the same tradition as Tetris picking up speed until you can no longer control it, but Tetris is a game you play as long as possible to beat your high score. Wario’s Woods features stage progression, so it can be frustrating when you get to the point when you know you’re going to have to replay the last few stages over, but just have to watch helplessly as Toad inevitably gets crushed, unless sheer luck buys you an extra few seconds.

Wario’s Woods also features a time attack mode and a VS. mode for two players, which could certainly become intense showdowns. These alternative modes give Wario’s Woods some variety, and can give you a much needed break when the “Round Game” gets too difficult.

One issue with the game is more of a recurring issue with Nintendo itself. And that’s how it’s the NES version of Wario’s Woods that keeps seeing re-releases, as opposed to the SNES version. For an NES game, Wario’s Woods looks great (being released so late in the console’s life, the game’s visuals are comparable to Kirby’s Adventure in how they push the NES), but it still doesn’t look as good (or as timeless) as the SNES version. What’s worse, every stage in the NES version has the same music. And while it may be somewhat catchy, the lack of audial variety does take something away from the experience.

It’s the NES version that has been released on every downloadable service Nintendo has provided, from Wii to Switch. It’s reflective of a weird trend with Nintendo where they seem to constantly be re-releasing NES games, but rarely those from their other systems. And that’s a shame because (unpopular opinion incoming) aside from the Mario and Mega Man games, not a whole lot of NES titles hold up. Meanwhile, the SNES has a timeless quality to the gameplay and aesthetics of so many of its games, that Nintendo’s apparent preference for its predecessor is dumbfounding. At least Wario’s Woods can claim to be among the handful of NES games not called Mario or Mega Man that’s still fun, anyway.

Wario’s Woods is a challenging puzzle game, no doubt. But those with the patience for it will find an incredibly addicting and rewarding experience that will keep them coming back. Now if only Nintendo could remember that this game was also released on Super NES…

 

7

Sonic R Review

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

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

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

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

“My eyes! The goggles do nothing!”

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

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

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

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

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

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

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

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

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

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

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

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

“You’re winner!”

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

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

 

2

Tails’ Adventure Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

5