The release of a new Super Smash Bros. game always gets people hyped. And while the E3 Direct and playing the E3 demo accomplished just that, for me, Super Smash Bros. Ultimate was something to be excited for, but one that seemed a bit familiar. That is until earlier this month with the second SSBU-focused direct, which revealed a host of new information on the upcoming entry, and kicked things into high gear with the announcements of Simon Belmont and King K. Rool!
Of course, being a series built on Nintendo’s history (or just plain video game history at this point), people always have their characters that they’d like to see make the Super Smash Bros. roster with every new entry. So far, the newcomers for Ultimate reads like a shortlist of winning selections: The Inklings represent a contemporary Nintendo franchise, Simon Belmont hails from the third-party franchise most synonymous with Nintendo’s early years (except maybe Mega Man), and Ridley and K. Rool have been among the most requested characters to join Super Smash Bros. for ages, so their inclusions feel like gifts for the fans.
The following characters are the ones I’d most like to see be announced in the coming months to join the ranks of Super Smash Bros. fighters in Ultimate. I know, people might bring up that Sakurai has already stated there won’t be too many newcomers (outside of echo fighters) this time. But this list isn’t called “Five Characters Who Will Totally Make the Cut in Super Smash Bros. Ultimate in Addition to the Ones Who Have Already Been Announced.” It’s a list of the five characters I’d most like to see make it. Not expecting all five, but I like to think my top two picks have more than a fighting chance.
The funny thing is I had originally planned to make this list before the last Smash Bros. Direct, but never got around to it. And since Simon Belmont and King K. Rool were originally going to be on this list, I had to change things up a bit after they were announced.
Also, my list includes a mix of Nintendo characters and those of third-parties. Because honestly, Super Smash Bros. now has most of Nintendo’s most notable characters. There aren’t too many left that would make a big splash outside of an Assist Trophy. Kind of have to branch out at this point.
With all that out of the way, here are the top five characters I’d most like to see become playable characters in Super Smash Bros. Ultimate. But first, a runner-up.
*Review based on Banjo-Tooie’s release as part of Rare Replay*
There’s perhaps no game that better represents the “everything and the kitchen sink” mentality than Rare’s Banjo-Tooie. This 2000 sequel to Banjo-Kazooie looked to improve upon its predecessor in virtually every regard. Though Tooie was also released after Rare’s over-bloated Donkey Kong 64, so it attempted to find a balance between making the Banjo-Kazooie experience bigger and better, while avoiding the pitfalls of tedium found in DK64. For the most part, Banjo-Tooie succeeded in its difficult balancing act, providing one of the N64’s best experiences, and an adventure that was so massive it still feels like a hefty title even by today’s standards.
Though Banjo-Tooie retains the same Mario 64-style gameplay of Kazooie, it also seems to have taken a few notes from Ocarina of Time, as Tooie’s overworld structure feels more like something out of an action/adventure title. The whimsical yet sinister halls of Gruntilda’s Lair give way to the wide, open world of the Isle O’ Hags (named for its penchant of housing evil old crones like Gruntilda and her sisters, Mingella and Blobelda), of which Spiral Mountain and the aforementioned Lair are only a small part.
The story here, while possibly even more loose than Kazooie’s, is perhaps presented in a more original manner. Instead of the usual damsel in distress plot of platformers, Banjo-Tooie more or less feels like a quest for vengeance, albeit one in which the characters are a bunch of comical animals who are constantly making fun of each other.
Appropriately set two years after the original, Banjo-Tooie sees Gruntilda resurrected by her sisters (who promptly tell the now skeletal witch to stop with her constant rhyming). Seeking revenge, Gruntilda decides to destroy Banjo’s house, where Banjo and Kazooie are playing a game of poker against Mumbo Jumbo and Bottles. Mumbo Jumbo sees the undead Gruntilda readying a devastating spell, and warns the others. Banjo and Kazooie join Mumbo in evacuating the house, but Bottles – believing it to be a rouse to cheat in the card game – stubbornly stays put. Banjo, Kazooie and Mumbo remain unscathed (unbeknownst to Gruntilda at the time), but the destruction of the house also leads to the death of Bottles, who becomes a cartoony ghost floating above his crispy corpse.
Gruntilda’s not done there though, and soon plans to use a machine to drain the life out of as many people as possible, in what is a seldom mentioned means of making a new body for herself. Gruntilda manages to zombify a Jinjo king named Jingaling, but like the first game, Gruntilda’s machinery is a bit buggy, and so she needs a lot more time to power it up to drain enough life from the island to bring back her former, girth-y self. This of course gives Banjo and Kazooie ample time to adventure out and stop the witch, in hopes of avenging their friends and hoping for a way to bring them back (though Kazooie is a bit annoyed that she needs to go on another adventure for Bottles’ sake).
Like the first game, it’s a simple plot that’s made more lively by the funny characters and dialogue (with the gibberish, garbled speech making a triumphant return), and its darker tone certainly sets it apart from other games in the genre (seeing Spiral Mountain dilapidated and ruined serves as a fitting introduction to this sequel’s tonal shift).
As stated, this is a much bigger adventure than the original Banjo-Kazooie, with more moves to learn, more items to collect, and much bigger stages to visit. Tooie is a wise game in assuming those who are playing it are familiar with the original title, and thus the titular duo retain all the moves they learned in their first go around, and tutorials are kept to a minimum (though Bottles’ ghost can refresh you on the basic moves if you visit one of his molehills in Spiral Mountain). This means that, while the adventure might be a much heftier affair than Kazooie, you feel like the adventure gets going just as quickly as its predecessor.
There are, of course, some changes to the mix: Jiggies are still the main collectible, and are needed to unlock new worlds. But now the Jiggies are to be taken to the temple of Master Jiggywiggy, a powerful sorcerer with a comical, puzzle piece-shaped head who tasks the heroic duo with completing interactive puzzle mini-games in order to open up a stage. This adds a bit more fun to the equation than the first game simply having Banjo stand on a pad and pressing a button to use the Jiggies and unlock a level.
Music notes are now gathered in clumps of five, as well as a hidden bunch of twenty to be found on every stage. So while there are still technically a grand total of 100 notes per stage, there are less physical items to collect. The notes also serve a new purpose, seeing as Gruntilda’s Lair is behind our heroes and they no longer need to open its many doors. With Bottles dead, his drill sergeant brother Jamjars takes over in mentoring Banjo and Kazooie their new moves, and requires a set amount of music notes for each subsequent move in his arsenal (which, to be honest, feels like a more fleshed out mechanic than simply finding a molehill). The moves here are a lot more robust and varied than the first game (including new fire, ice and grenade eggs), with the main hook being the ability to split Banjo and Kazooie up, with each also learning their own solo moves.
Another new character – and change to the formula – comes in the form of Humba Wumba, a shaman who takes over Mumbo’s former role of transforming our heroes into various forms. Mumbo Jumbo himself now becomes a playable character, with both shamans requiring Banjo and Kazooie to find a creature called a Glowbo in order to perform their shamanistic duties on every stage.
Perhaps Tooie’s other great addition is the implementation of proper boss fights. Sure, Gruntilda proved to be a memorable final boss in Kazooie, but aside from her, anything that resembled a boss encounter was closer to being a minor obstacle than they were a level’s crescendo. Every level gets its own boss battle here, and the overworld even sees three fights with Gruntilda’s baffingly loyal henchman, Klungo. While they may be a bit on the easy side, the boss fights that are present in Tooie feel like they add a bit more personality to the stages, and are certainly a step up from the non-bosses of Kazooie.
The differences in boss encounters between games may also be telling of the overal nature of the N64 Banjo games themselves. As great as Banjo-Kazooie was, Banjo-Tooie simply feels like a more fleshed-out experience. Much of what the first game attempted is more properly realized in this second adventure.
Banjo-Kazooie saw a tiny taste of Metroidvania added to the 3D platforming mix, with the titular duo learning their moves to access new areas of Gruntilda’s Lair. But the game failed to capitalize on the concept and implement such elements into the levels themselves, meaning that once a stage was drained of its collectibles, there were no reasons for return visits. Banjo-Tooie pulls the trigger on the concept, and though it may not exactly be the 3D Metroidvania that Metroid Prime or Dark Souls would end up being, it was probably the closest thing 3D gaming had to the genre at the time of its release.
Banjo-Tooie frequently features segments in levels that must be returned to at a later time, once some additional abilities have been earned. More interesting still, the Isle O’ Hags is even presented as a connected world, with some stages directly linking to others. To emphasize the concept, there’s even a train that connects a handful of the levels and the overworld together. Some may find the backtracking a tad excessive, but some accommodations are made by implementing warp pads in the stages, and silos that allow Banjo and Kazooie to fast-travel the overworld.
The other key ‘lacking’ aspect of the original which is polished by Tooie are the transformations. This time around, every stage has its own transformation, and the different forms the titular duo take – whether it be a T-rex, a submarine, a washing machine that launches underwear at enemies, or the returning bee – are all a lot more versatile than they were in the first game. Granted, it’s still unfortunate that most of the transformations are still only used to gain one or two Jiggies apiece, but at least they feel properly implemented this second time around.
Sadly, Banjo-Tooie itself falls victim to its overly ambitious nature, and at least one of its own elements is as underutilized as Banjo’s transformations in the first game. Strangely, this element once again revolves around Mumbo Jumbo. That is to say, his addition as a playable character feels underdeveloped. As cool as the idea of playing as Mumbo is, he doesn’t really have a lot to do, nor does he have a lot he can do. Mumbo is simply used to walk to a ‘Mumbo pad’ to perform a level-specific spell. While these spells can sometimes be interesting (the very first stage allows Mumbo to take control of a golden giant who can crush anything in its path), they once again fall under the “one or two Jiggies” category, and even then, it’s still usually Banjo who needs to collect the Jiggy in the end. Mumbo’s moveset is also extremely limited, as his only other actions aside from walking and casting spells on the Mumbo pads are jumping and shocking enemies with his magic wand. I wouldn’t assume Mumbo would have the versatility as the primary characters and learn new moves throughout the adventure as they do. But perhaps if he had a few more of their acrobatics, and a little more to do, it would make Mumbo’s promotion more worthwhile.
If there’s another complaint to be had with Banjo-Tooie, it’s that one of the game’s eight proper stages – the smog-riddled factory of Grunty Industries – is a bit of a convoluted maze, with environments that look similar to each other, and some needlessly tedious changes of pace to the fast-traveling (with elevators only being accessible in Banjo’s washing machine form, and the warps pads being inaccessible to said washing machine). Having played through Banjo-Tooie numerous times, it is this level that seemingly breaks the flow of the adventure. Sure, things pick back up a bit with the two subsequent stages, which house the game’s most original themes (one being the crossover fire and ice world of Hailfire Peaks, and the other being the bizarre sky world of Cloud Cuckooland), but Grunty Industries is probably the point in the game that will deter players from achieving one-hundred percent completion.
All things considered, however, Banjo-Tooie is an improvement over its predecessor, and remains one of the N64’s few timeless titles. It may still have some flaws holding it back from stealing Mario’s platforming crown, but Tooie perhaps remains the most ambitious platformer ever made (so ambitious, in fact, that a notorious “counter-operative” multiplayer mode – in which a second player took control of Bottle’s angry spirit – though unfinished, remains intact in the game’s code.). If the hefty adventure somehow weren’t enough, Banjo-Tooie also features a multiplayer mode where players can partake in the many mini-games once they’ve been played in the main story, and can even face-off in first-person shooter death matches that parody Rare’s Goldeneye and Perfect Dark (and, humorously, hold up better than the games they’re parodying). Top it all off with some of the best graphics of the N64 generation, and another stellar Grant Kirkhope soundtrack, and Banjo-Tooie remains a platformer whose aspirations have been seldom approached in the years since.
*Review based on Banjo-Kazooie’s release as part of Rare Replay*
In the wake of Super Mario 64 came a new kind of platformer. Differing from the 2D sidescrollers of the past and earlier, more linear 3D platformers such as Crash Bandicoot, Super Mario 64 ushered in a more open-world style for the genre, one that had a greater focus on collecting specific key items at the player’s own leisure, as opposed to simply making it to the end of a stage. Of all the ‘collect-a-thon’ 3D platformers that were born in Super Mario 64’s wake, there’s perhaps no more beloved example of this sub-genre than Rare’s Banjo-Kazooie.
Released in 1998 – a mere two years after Mario took his revolutionary first steps into the third-dimension – Rare sought to accomplish the seemingly impossible, and beat Mario at his own game. Rare’s bear and bird duo nearly pulled off that feat, delivering one of the N64’s best offerings, and one of the few games for the console that’s still a whole lot of fun to play today.
In Banjo-Kazooie, players take control of the titular duo: Banjo, the lazy honey bear, and Kazooie, the sarcastic bird who lives in Banjo’s backpack. The player primarily controls Banjo for movement, with Kazooie boasting most of the special abilities.
The story is simple stuff, with an evil witch named Gruntilda kidnapping Banjo’s younger sister Tooty in an attempt to steal her beauty. Unfortunately for Gruntilda, her henchman Klungo is a bit of a bungler, and his beauty-extracting machine is on the fritz, giving Banjo and Kazooie ample time to set off to Gruntilda’s Lair on a rescue mission. It’s your typical damsel in distress plot, but the game’s consistently charming characters and often hilarious dialogue make it a unique adventure.
Speaking of dialogue, Banjo-Kazooie’s “garbled speech” is one of its most iconic attributes, with each character having their own distinct gibberish noises playing over dialogue instead of any kind of traditional voiceovers. Some of these “voices” may be a little irritating, but they’ve become somewhat iconic in the years since the game’s release, as they’ve added to the game’s already stellar sound work, with an unforgettable soundtrack by Grant Kirkhope that captures Banjo-Kazooie’s unique sense of charm and whimsy.
In terms of gameplay, Banjo-Kazooie is incredibly similar to the Mario adventure that inspired it. After completing a tutorial in Banjo’s home of Spiral Mountain, you traverse the chambers of Gruntilda’s Lair, which serves as something of a more sinister contrast to Peach’s Castle from Super Mario 64. Golden jigsaw pieces – called “Jiggies” – serve as the equivalent of Mario’s Power Stars, and a set amount are required to unlock each of the game’s nine proper stages. Meanwhile, music notes more or less take the place of coins, but have an added usage in unlocking further chambers within Gruntilda’s Lair.
Each of the stages house 10 Jiggies and 100 musical notes, while the Lair itself has an additional 10 Jiggies to collect, for a grand total of 100 Jiggies and 900 music notes. Not every collectible needs to be obtained to complete the game, however, and all of these items can be gathered at the player’s own pace.
This is where Banjo-Kazooie begins to deviate away from Mario 64’s influence and becomes its own beast. While Super Mario 64’s levels were presented in a sequence of missions (with players only able to go off the path and collect alternate stars from the selected mission on occasion), Banjo-Kazooie’s stages serve as wide-open sandboxes, with players able to gather the collectibles in whatever order at almost any time.
Perhaps an even bigger change to Mario’s formula is that Banjo and Kazooie progressively learn more moves throughout their adventure, provided they can find Bottles the mole hiding in one of his molehills on the first few stages. These moves range from using Kazooie’s legs to walk faster and climb steep slopes to shooting eggs from Kazooie’s mouth and rear. These moves are not only used to navigate through levels and defeat enemies, but many of them are required to find new sections of Gruntilda’s Lair and to reach specific Jiggies, giving the game a small dose of a Metroidvania element.
Along with Bottles, the most important side character is Mumbo Jumbo, a mystical shaman who transforms Banjo and Kazooie into a variety of forms, ranging from termites to pumpkins to bees. Just find some Mumbo Tokens and take them to Mumbo’s Hut to be able to achieve a level’s transformation at any given time.
There is a downside to both the progressing moveset and transformations, however, in that both features can feel a bit underutilized. While the prospect of revisiting levels with new moves to reach previously inaccessible places and items may sound enticing, chances are you’ll find every molehill in your first go around of one level and have everything you need for the next. Only two of the levels (the snow/Christmas-themed Freezeezy Peak and the desert stage of Gobi’s Valley) are particularly interchangeable, as both are unlocked close together, and each features one Jiggie that can only be accessed with a move learned in the other. As for the transformations, you’ll only change forms in five of the nine levels. And when you do get to transform, the different transformations are more or less just used to squeeze into a particular area Banjo himself can’t reach, all to obtain a single Jiggie.
The fact that such elements are present at all is a joy, as they’re a testament to the inventiveness that went into Banjo-Kazooie’s creation. But perhaps they were ideas ahead of what Rare could handle at the time, with both concepts of revisiting levels with new moves and the transformations fulfilling much more of their potential in the game’s 2000 sequel, Banjo-Tooie. By comparison, time has shown that Banjo-Kazooie couldn’t quite reach its ambitions.
If that is the case, it’s simply another testament to just how creative Rare was during Banjo-Kazooie’s development. The gameplay itself is some of the best on the Nintendo 64 and, much like Mario 64, remains a joy to play even today (though Mario 64’s sometimes clunky camera is still present). And the nine featured levels may just outdo Mario’s famed N64 outing, with some truly ingenious obstacles created to take advantage of Banjo and Kazooie’s versatile moves; and they feature themes that add new twists to platforming norms (such as the aforementioned ice world also being built around Christmas, or a sewer stage that houses a mechanical shark as its centerpiece. And Rare was wise to save their most creative level for last; a giant tree that can be visited in all four seasons of the year, with each season changing both the level’s challenges and its inhabitants). If that weren’t enough, Banjo-Kazooie’s playful spirit is perhaps most present after every level is completed, where the heroic duo take part in a quiz show/board game against the evil witch, in which players have to remember details about the game and their playthrough.
Banjo-Kazooie is simply a great time from beginning to end. That so many other games from its era – including beloved titles like Goldeneye 007 – feel so outdated by today’s standards while Banjo-Kazooie still remains one of the best games in the 3D platforming genre is telling of just how much creative energy went into the game, and how well it executed it. It may not always achieve its lofty ambitions, but Banjo-Kazooie is creative, fun and charming enough to stand the test of time.