Despite Mario and friends being the most recognizable characters in gaming, the franchise has very rarely received new mainstay additions to its character roster after Super Mario Bros. Super Mario World brought the biggest addition in the form of Yoshi, while Super Mario Sunshine introduced Bowser Jr., and Galaxy brought fan favorite Rosalina into the mix (we still have yet to see if the parade of oddities introduced in Odyssey will frequently reemerge). But in between Yoshi and Bowser Jr. the series received perhaps its strangest character in the form of Wario, who was introduced as the villain of Super Mario Land 2: Six Golden Coins.
When Super Mario Land became a massive success on the Game Boy, it only made sense that a sequel would follow up eventually. And in 1992 – the same year the Game Boy introduced the world to Kirby – Super Mario Land not only got a sequel, but Nintendo received another iconic character in its bizarre, anti-Mario villain, who has gone on to star in a number of his own series.
Along with the introduction of Wario, Super Mario Land 2 is notable for feeling more like a Mario game than its predecessor. The Fire Flower is back, Goombas return, Koopa shells no longer explode, and the game as a whole just feels more inspired. If Super Mario Land’s goal was simply to bring Mario to a handheld console, than Super Mario Land 2 sought to make a handheld entry that could live up to its home console brethren. And although Mario Land 2 may not have aged quite as well as those aforementioned home console Mario adventures of yesteryear, it’s still a good deal of fun while it lasts.
The story here is a rare instance of a Mario game actually tying into the plot of its predecessor. While Mario was busy rescuing Princess Daisy from Tatanga the spaceman in Super Mario Land, Wario took control of Mario’s castle (damn, I knew plumbers charged a lot, but a whole castle?). Wario has placed a magic spell on the castle, and Mario cannot enter unless he’s received the Six Golden Coins, which are in the hands of Wario’s minions. Mario must venture to six different lands to wrest the coins away from the bosses so that he might take back his castle from Wario. It’s an interesting change of pace from the usual princess kidnapping, though the idea of Mario having a castle still seems pretty weird (and apparently Nintendo thought so as well, as any and all other Mario games ignore this and depict Mario living in a more appropriately humble home).
The level design is solid and fun. It may not be up to the platforming perfection of Super Mario Bros. 3 or World, but for a Game Boy title it’s pretty impressive that it holds up as well as it does. There are two key ingredients that set Mario Land 2’s worlds apart from other entries in the series, however.
The first is that the themes of each world differ from the usual “grass, fire, ice, etc.” motifs usually found in platformers. Instead, the worlds here range from being based around toys, Halloween, outer space, a tree, a turtle, and – in a fun twist on Super Mario Bros. 3’s Giant Land – a world where Mario shrinks, with everyday creatures like ants and grasshoppers serving as enemies. The second, and bigger twist, is that these worlds can be completed in any order. Seemingly taking inspiration from Mega Man, Mario can traverse the game’s world map and enter any of these six worlds in any order the player chooses. This gives Super Mario Land 2 a unique sense of openness that the series strangely hasn’t revisited in subsequent 2D entries.
Along with the usual Super Mushroom and the aforementioned Fire Flower, a power-up exclusive to this game shows up in the form of the Super Carrot, which grants Mario rabbit ears that allow him to hover for a prolonged period of time.
Overall, the gameplay is fun, if maybe unambitious compared to other Mario titles (the open-world map being Land 2’s best innovation to the series). It should also be noted that, with the exception of Wario’s Castle, the levels are all pretty easy, with the boss fights even more so. And the whole game can be completed in a little under two hours. Given the time the game was originally released – when the convenience of gaming on the go meant sacrificing some of the depth and quality of the experience – these aspects make sense. Super Mario Land 2: Six Golden Coins was an almost ideal handheld game back in the day. And when you consider the graphics and music are a marked improvement over those of its predecessor, it felt more like a proper Mario adventure.
The downside is that, though the game is still a lot of fun in its own right, handheld gaming has come so far since 1992 that the limitations of its placement as an early handheld classic stand out all the more. While it certainly holds up a lot better than the first Super Mario Land, it’s still hard to argue why you would play Six Golden Coins over one of Mario’s more iconic retro adventures (which are readily available on pretty much every Nintendo device these days).
Super Mario Land 2: Six Golden Coins is still fun, and serves as an interesting piece of Mario’s history, but it falls considerably short of the plumber’s finest.
Still, we got Wario out of it. I guess for that alone we should all be grateful.
The Super Mario series requires no introduction; to say that it is synonymous with the video game medium would be an immense understatement. Its cadence to this unanimous praise is heavily warranted as the Super Mario series is game development at its finest. One staple and undisputed fact that has remained a constant of sorts for the legendary series is its profound sense of unadulterated fun; no other series is able to emit an equivalent sense of elation or wonder. However, Mario’s strongest backbone and alluring element is its ability to adapt and evolve. The core ingenious structure has remained intact for over three decades, with innovative ideas and constructs implemented into each new iteration of Mario. It’s a successful formula that rightfully acknowledges and respects the past, but also leaves way for innovation and improvement, encompassing a disposition for unpredictability and audacity. Super Mario Odyssey is a prime example of Nintendo’s pristine ability to take the familiar and beautifully mold it into something brilliantly exotic. In a lot of ways, Super Mario Odyssey is a renascence of the 3D sandbox platformer, however this magical adventure is far more than the sum of its parts. It redefines the structure of the series in terms of its gameplay variance, level design, and progression structure, while paying homage to its roots and acting as a celebration of sorts for the beloved franchise. It’s a delicious adventure that is equally parts exploration and platforming, and is chockful of enticing secrets and goodies to discover. Super Mario Odyssey is an amalgamation of each minute element that validates the series’ perfect standing; this foundation is enhanced considerably through Nintendo’s ingenious use of inventive concepts and implementations, crafting an experience that is constantly evolving in surprisingly brilliant ways. It’s an unabashed masterpiece that surpasses the insurmountable standards set by the Mario franchise. Super Mario Odyssey is the definition of perfection and is a glorified testament to Nintendo’s unparalleled sense of creativity and innovation.
Much has been said of how Super Mario Odyssey is the return to the “sandbox style” of Mario game found in Super Mario 64 and Super Mario Sunshine. But the truth is it’s much more than that. This is the latest evolution in a series that is no stranger to evolving, as it feels like a culmination of everything Mario has learned up to this point, all tied together with a bag of tricks that are entirely its own. World ensured Mario was an icon to endure past the 8-bit NES, 64 brought Mario into the third dimension and changed the way platformers are played, and Galaxy turned the very nature of the series on its head (often literally). Odyssey is the latest continuation of Mario’s progression, as it contorts and redefines the very foundations of gaming’s greatest icon.
From the get-go, it’s easy to tell that Odyssey is something special. Though the story is the tale as old as time – with the fiendish Bowser absconding with Princess Peach in an attempt to force her to be his bride – there are new twists here that make things feel fresh. The first, and most apparent, is the new cinematic quality given to the game’s events. The story this time around begins with what would be the end of another Mario adventure, with the mustachioed hero coming face-to-face with the King Koopa to rescue Princess Peach.
Bowser, now decked out in a wedding tux, has hired a band of evil bunny wedding planners called the Broodals to aide him in his schemes, which all revolve around the forced nuptials. Bowser manages to get the upper hand in the scuffle, and soon Mario is sent plummeting from Bowser’s airship. Mario awakes not in the sunshine covered grassy hills that would signify the first level of virtually every previous Mario title, but in the Nightmare Before Christmas-esque world of the Cap Kingdom, which is inhabited by spectral hats.
Bowser is traveling the world, stealing different items from various kingdoms to ensure his ceremony is perfect: Flowers from the Wooded Kingdom, sparkling water from the Seaside Kingdom, and a mystic wedding ring from the Sand Kingdom, to name a few of the objects Bowser has apprehended. One of these items happens to be a sentient tiara from the Cap Kingdom (aptly named Tiara), whose brother Cappy is on a mission to rescue her. Mario and Cappy join forces, and soon the duo set off on a globetrotting adventure to save the day.
Being a Mario title, of course the plot is simple stuff, but its cinematic presentation is a new high for the series, with many moments feeling like extravagant set pieces ripped out of Uncharted. And though it’s minimal, a travel brochure that serves as the player’s map contributes a bit of world building, with each kingdom getting some little details given to their environment, citizens, and local industries. Odyssey’s world may never pull at the heartstrings like Rosalina’s storybook, but Mario’s world has never felt more alive.
This is perhaps a bit ironic, because Mario’s world has also never been weirder. The realistically-proportioned humans of New Donk City (the Metro Kingdom) have already gained internet infamy for how they hilariously clash with Mario’s cartoonish self. But that’s far from the end of it, with Odyssey seemingly having a ball implementing whatever art directions and world themes tickle its fancy. The Sand Kingdom is home to sugar skull people inspired by Dia de los Muertos, while the Cascade Kingdom houses a T-rex that looks like it was ripped out of Jurassic Park. There are many other wonderful diversities in Odyssey’s visuals, including one boss who – along with its world – looks more like something from Dark Souls or Skyrim than Super Mario.
Of course, with Mario, it’s the gameplay that always comes first, and that’s as true here as ever. The best part is Odyssey’s distinct sense of weirdness is found even in its gameplay.
Describing the gameplay as weird certainly isn’t a knock on the game’s controls – Odyssey is as much a sequel to the Galaxy duo as it is to 64, as Mario himself retains all his classic acrobatics from those games, and controls just as fluidly as he did in his space ventures – but this weirdness is found in the form of Odyssey’s key new feature: the capture mechanic.
By throwing Cappy, Mario can effectively possess creatures and his classic enemies via his ghostly headwear (think of it like Oddjob from Goldfinger meets Bob from Twin Peaks), with each capture-able character bringing its own gameplay.
Some creatures provide small changes, such as the Cheap Cheap allowing for faster swimming without the need to take a break for air, while Goombas can stack on top of each other to reach higher places. Others are a bit more drastic, with the notorious Hammer Bros. having their own sense of movement, and can rapidly throw projectiles to fell enemies and break objects.
The capture ability isn’t limited to Mario’s classic rogues gallery, however, and the former plumber can possess new creatures like the Gushen, a squid-like figure entrapped in a bubble of water which pays homage to Sunshine’s F.L.U.D.D. by means of using the water as a jetpack. The Tropical Wiggler can stretch like an accordion for some unique navigation, while the aforementioned T-rex proves to be an unstoppable behemoth. Mario can even capture some inanimate objects, like the poles of New Donk City, which fling Mario to great heights.
Being able to capture such a wide array of creatures and objects means that the gameplay is constantly changing, and Odyssey wisely incorporates the mechanic into a seemingly endless variety of objects both big and small. Traditional power-ups are nowhere to be found, but the capture ability is so robust and used so creatively that it’s a more than worthy alternative.
It’s all for the sake of collecting Power Moons, the new equivalent to Stars and Shines of 3D Marios past. These Power Moons are the energy source that fuels Mario and Cappy’s ship, the Odyssey, with more moons required to visit each subsequent kingdom.
Here’s where Super Mario Odyssey lives up to its monicker of an open-world Mario title more than 64 and Sunshine ever did. There is no hub world in Odyssey, instead, each stage is its own wide open sandbox. Without a hub to return to after a Moon is collected, Mario pulls a page out of Banjo-Kazooie’s playbook, and is free to comb through a stage finding as many Power Moons as he possibly can at the player’s own leisure. There is a small caveat in that Odyssey is slightly more story-dictated than other Mario titles, and most of the stages are unlocked in a subsequent order (with only a few instances of multiple levels opening up at once). This is ultimately minor, however, as each stage has so much to do at any given time – with more activities being unlocked as you progress through the adventure – that the sheer abundance of player choice is perhaps equalled solely by Breath of the Wild.
Odyssey’s stages can get pretty massive, but they never feel overwhelming. Checkpoint flags can be fast-traveled to on the map screen, and the capture ability often leads to faster means of exploration. Plus, there’s so much to do in any given space of Odyssey’s levels that you’ll never feel like your travels are for naught.
The story will take about fifteen hours to complete, but rest assured the game is far from over at that point, as postgame content opens the adventure up all the more, leaving every sandbox of a stage completely open for the player to traverse them like never before. With hundreds of Moons to acquire, there’s rarely ever an end in sight, unless the player so desires to move on.
There are other means in which Odyssey gleefully leaves the player in charge, with a host of different control options available. Though the motion controls may take a few minutes to get used to, once you do, they play like a dream, and I found myself actively wanting to play with a joycon in each hand. You can always dock the joycons or use a pro controller if you wish, but Nintendo really went all out in ensuring every control option feels so responsive.
Perhaps Odyssey’s most charming little customizable option is the ability to change Mario’s costume and hat. Coins play a larger role than ever, as they can be traded to a chain of shops known as the Crazy Cap to gain new costumes. Similarly, purple currency is different to each kingdom, and are used to unlock costumes based on or inspired by that region (often with ties to Mario’s past, such as New Donk City’s construction worker uniform being identical to that which Mario wore on the box art to Super Mario Maker).
For the most part, the costumes and hats are purely cosmetic, though there are a few instances of a particular costume set being required to enter specific doors or to get the proper reaction from an NPC. Though this may be Odyssey’s lone lacking element, as Mario is usually just granted a Moon for entering said doors or talking to said NPCs. It’s a minor quibble, but it would have been a bit more interesting if the sections that required specific costumes had more to them.
If one has to search really hard to find anything else to raise an eyebrow about, it’s simply that the penalty for defeat is a measly ten coins. Gone are 1-ups and game overs in an admittedly modernized approach. But seeing as coins are all over the place, and more prevalent than ever before, defeat seems to have very little consequence.
Another noteworthy aspect of Odyssey is its bombardment of memorable boss fights. Although the boss battles tend to be on the easy side, they deliver on the fronts of creativity which, for my money, is the more important area. The boss battles are varied and plentiful, with many of the best ones also taking advantage of different capture abilities.
Visually speaking, Odyssey is the best looking game on the Switch. Along with the aforementioned abundance of art directions, the game as a whole is just a beauty to look at. Every texture, surface and liquid to be found in Mario’s world is given a new sheen, so even the most absurd of creatures and locations have a sense of realism. Better still are the tiny little details that are littered all over the place, like Mario getting covered in soot if he jumps over a chimney, or small animals scurrying in the distance. Although Mario’s world is more surreal than the land of Hyrule, Odyssey evokes the same sense of love for attention to detail as Breath of the Wild.
Of course, what would a Mario game be without a great soundtrack? This is another area in which Odyssey seemingly sets a new highpoint for the series, expanding on the orchestrated wonderment of Galaxy and making it into something even more grandiose, while still sounding distinctly Mario. Odyssey’s soundtrack is as fun and epic as any in Nintendo’s history, and is nothing short of a joy to listen to.
Super Mario Odyssey is a phenomenal game. It never stops piquing the player’s curiosity, and consistently rewarding it with one brilliant idea after another. There’s simply never a dull moment in Super Mario Odyssey, as it displays a constant stream of inventiveness that few games could match. Even a second player can join in on the action, and take control of Cappy while player one takes up Mario’s mantle.
Mario is one of gaming’s oldest icons, and yet he’s also proven to be the medium’s most consistent source of new ideas time and again. That concept has maybe never been more apparent than it is here in Odyssey, as it combines so many aspects of Mario’s greatest adventures while simultaneously rewriting them. It’s the next step in Mario’s evolution, while also being a loving homage to the series’ peerless history.
If I didn’t know any better, I might even say that Odyssey feels like a fitting conclusion to gaming’s most iconic franchise. It won’t be, of course, but Odyssey feels like the crescendo of all things Mario. There were more than a few instance in which Odyssey had me misty-eyed. Some instances were due to personal nostalgia, others were because of how beautifully Odyssey pays tribute to its entire lineage.
Fitting that Super Mario Odyssey should be released ten years after Galaxy. In 2007, Super Mario Galaxy seemed to encapsulate the Super Mario series, and brought it all to such newfound heights that many wondered where Mario could possibly go next. Now, Odyssey has pulled it off all over again. Its restless imagination, non-stop surprises, and pitch-perfect gameplay will leave anyone wondering what the future holds for Mario and company.
I’ll just come outright and say it; Super Mario Odyssey is wonderful. I still have a way to go before I beat it and collect everything, but from what I’ve seen so far, every minute of Odyssey has been a joy.
Having played Odyssey back at E3 2017, it’s interesting to see what has changed. Namely, the motion-controls when playing with two joycons feels smoother than they did at E3 (though the E3 demo also didn’t explain the motion-controls in full detail, so maybe I just know what I’m doing now). It’s wonderful how well the game controls. Here I thought I was going to prefer using the joycons docked in the controller, but I actually think I enjoy the motion-controls more. It all feels so fluid.
Then we have the capture abilities, which are constantly changing up the gameplay. It’s so much fun just to see how every last character and creature plays. So far, my favorites have been the Chomp, the T. Rex and the tank!
There’s just so much gameplay exuding from every corner of Odyssey, it’s astounding! And the whole game is riddled in little surprises in every detail. It’s very reminiscent of collecting the Korok seeds in Breath of the Wild, but even more playful with how it inspires curiosity in the player. It seems in every moment I’ve wanted to search every last corner of a stage to find secret moons!
It’s perhaps the level design that’s Odyssey’s biggest highlight, with ever level being vastly different than the one that came before. Not just in aesthetics and themes, but also the obstacles, capture abilities and, most importantly, ideas.
So far, there’s simply never been a dull moment in Super Mario Odyssey. It has that same level of polish and consistent inventiveness of the Galaxy games or Super Mario World. I still may have a way to go, but so far, Super Mario Odyssey has the potential to wrest Breath of the Wild’s crown for the title of best game of 2017.
Ever since its release on the GameCube in 2002, Super Mario Sunshine has been one of the black sheep of the Super Mario series. Its water pack-themed gameplay and stagnant setting certainly make it stand out from other Mario titles, but it’s those same elements (and a handful of others) that have always prevented Sunshine from being the kind of revered classic that Mario is used to starring in.
It’s all relative, of course. On its own merits, Super Mario Sunshine still provides a great gaming experience, and it probably holds up better than the other 3D platformers of the GameCube/PS2/Xbox era. If it were an entry in another series, Sunshine may have been a defining moment. But in a series that houses more “best games ever” than any other, simply being “great” isn’t great enough. Sunshine was a victim of its own expectations.
Those expectations certainly were high, seeing as Sunshine was the follow-up to Super Mario 64, a title that changed the direction of gaming from then on out. And with a six year build-up to a 64 sequel, suffice to say Sunshine had a lot to live up to. Those shoes were simply too big to fill.
If we take a step back and look at Sunshine on its own merits – away from all-time greats like Super Mario Bros. 3, World, 64, Yoshi’s Island, and the later Galaxy games – it’s easy to see that there’s a lot to love in Mario’s polarized GameCube outing.
In Super Mario Sunshine, Mario, Princess Peach, and a group of Toads are vacationing to the island resort of Isle Delfino. Of course, there’s never time for Mario to catch a break, and no sooner does Peach’s plane land on the island’s airstrip that they realize something is horribly wrong, with a toxic goop polluting the landing pad. Mario quickly finds a strange, talking water pack called F.L.U.D.D. (Flash Liquidizing Ultra Dowsing Device), and uses it to clean up the airstrip (why anyone else couldn’t use F.L.U.D.D. when it was just lying around is anyone’s guess). As it turns out, the whole island is being covered in this strange goop, with the culprit being a Mario doppleganger attempting to frame Mario for the ordeal.
Sure enough – despite the doppleganger’s obvious blue, gelatinous body – the inhabitants of Isle Delfino (the tree-headed, big-nosed Piantas and the hermit crab-esque Nokis) hold Mario responsible for the crime, and sentence him to clean up the island and clear his good name. It’s definitely a nice change of pace from Peach getting kidnapped (though that happens a little later as well), but the voice acting (yes, voice acting) leaves a lot to be desired.
That’s all besides the point really. Mario games are never about the story, and all this polluted island clean-up business is little more than a reason to introduce the new water-based mechanics.
Being a sequel to Super Mario 64, Sunshine plays very similarly to its revolutionary predecessor. Mario retains his triple jumps, summersaults, wall jumps, butt stomps and dives that he learned in 64, only now he has possession of the F.L.U.D.D. to give him new moves.
The two primary functions of F.L.U.D.D. are the squirt nozzle and the hover nozzle, with players being able to switch between the functions with the press of a button. The squirt nozzle is used to clean up sludge and to shoot other objects when necessary, while the hover nozzle, as its name implies, allows Mario to hover for a short time, which really comes in handy for some of the trickier platforming.
Additionally, two other nozzles are acquired later in the game, and are more or less Sunshine’s equivalent to the usual Mario power-ups, as they temporarily replace the hover nozzle when obtained. The turbo nozzle allows Mario to move super fast, being able to break through certain walls and run on water, while the rocket nozzle gives Mario a higher jump than he’s ever had before or since.
Although F.L.U.D.D. may seem a bit on the gimmicky side, it’s a gimmick that ultimately works, as it adds a new twist on 64’s platforming mechanics. Meanwhile the fact that you’ll frequently have to “reload” it by finding a body of water to recharge gives it a little something of a shooter element (I can’t help but feel Splatoon borrowed a little something from F.L.U.D.D.). And the idea of a water-based platformer is still an intriguing concept looking back on it today.
Best of all is that Sunshine’s Mario controls so well. Mario wrote the rulebook on how to make a platforming hero control fluidly, and Sunshine provides some of the most cohesive controls in the entire series. Aside from wall jumping sometimes being a little finicky, I can’t think of much to complain about in the control department.
Sadly, not everything in Sunshine works as well as Mario and F.L.U.D.D. The camera, though an improvement over 64’s, still suffers a bit from the same faults of its predecessor. A number of bonus areas, in which Mario is thrown into more cramped platforming gauntlets, are particularly hindered by the camerawork, as it can be difficult to get the camera in the right angle while simultaneously trying to make sure Mario doesn’t fall to his doom on a tricky, moving platform.
Similarly, you may find that there are more than a few technical issues with the game. Though they may be small and (mostly) inconsequential, pointing out technical issues in a mainline Mario title is normally unheard of. But it seems Sunshine didn’t have as much time to receive the usual “Mario polish,” and you may find Mario getting stuck or an enemy’s animation not showing up more often than you’d like.
Still, while these flaws are notable, they’re hardly game-breaking. With how well Mario controls, along with the overall execution of the level and mission designs, it’s hard to complain too much.
Super Mario Sunshine ultimately has a similar structure to 64, with Mario traversing a central hub world to access the “proper” stages, which house a series of missions, each one capped off with acquiring a Shine Sprite (Sunshine’s equivalent to 64‘s Power Stars). There are, however, a few differences that perhaps played a part in Sunshine’s more divisive reception.
The first of these differences is that Sunshine is actually more linear than 64. Contrary to recent popular opinion, there’s absolutely nothing wrong with linear games, but considering that many like to praise 64 and Sunshine for being the “sandbox” Mario games, it may surprise some to revisit Sunshine and find out that’s only true to an extent. While Banjo-Kazooie dropped players into a stage to unearth its collectibles at their leisure, 64 and Sunshine’s mission-based level format gave a set objective that needed to be accomplished at that time. 64 did actually allow players to tamper with that format, as they could at times accomplish the requirements for a stage’s later stars while attempting to get an earlier one, but Sunshine doesn’t share that element, instead having the selected mission dictate the Shine Sprite to be collected almost entirely (the only exceptions being a handful of the game’s hidden Shines, or a level’s obligatory 100-coin Shine Sprite). The delightful hub world of Delfino Plaza is where the game is at its most open, but the stages themselves are more limiting.
Again, that’s not a bad thing per se, but perhaps one reason Galaxy was so warmly received is that it was more honest with its linearity. Galaxy had level structure that was more akin to Super Mario World than 64, so the linearity felt like a cohesive whole. But Sunshine presents its stages as open-world sandboxes but, fun though they may be, they’re not quite that.
One of the other big differences in Sunshine from other Mario titles is that every stage is built around its tropical island theme, which works for better and worse. In terms of better, it makes Isle Delfino feel like an alive location, with the different levels even being visible in the distance of others. In terms of worse, it also means that Sunshine lacks the sense of variety and surprise that the best Mario titles have. Sure, there’s a dose of different locations, like a harbor and a beach and a haunted casino (which is located on another beach…), but there are no castles or giant worlds to speak of. Isle Delfino is definitely a unique location in the series, but it seems to be in some kind of bubble away from the franchise’s usual fairy tale elements.
That’s not to say that Sunshine is devoid of the series’ indelible mark of surrealism, as the aforementioned platforming gauntlets that serve as the bonus stages – where Mario is robbed of F.L.U.D.D. and has to rely on his own abilities – seem to be housed in a bizarre, often pixelated dimension, with random shapes and objects suspended in space in such a way that they feel like a precursor to the Galaxy titles. It may not be a surprise that Sunshine’s detractors often single these segments out as the game’s highlights.
While Mario’s world may seem (relatively) more grounded and less fantastic in this GameCube adventure, there’s still a terrific sense of joy to be had. Many of the Shine Sprites are a blast to obtain, and even Yoshi joined in on the action (albeit sparingly), being able to use his hovering and enemy-eating abilities of the past, while also being able to spit up juice (eewww!), which works similar to F.L.U.D.D. but with its own properties (like turning certain enemies into platforms). Not to mention that Super Mario Sunshine still looks visually impressive for a fifteen year-old game, and its music is upbeat and fun, and perfectly captures the game’s setting.
There are some other disappointing elements though. Not counting Delfino Plaza or the bonus stages, Sunshine only boasts seven proper levels, which is considerably less than Super Mario 64’s fifteen! Yet, the game has just as many Shine Sprites as 64 had Stars (120), with a decent chunk of twenty-four of them being obtained by trading blue coins to a raccoon in Delfino Plaza (ten blue coins for one Shine).
With twice the number of blue coins as there are Shine Sprites, collecting them all may have made for a fun sidequest, especially seeing how some of them are so esoterically hidden (stand on a certain platform and squirt the moon!), that finding them would actually feel more worthwhile if trading them in unlocked some kind of secrets. By simply making them a means to get every Shine Sprite, it makes it feel as though both the Shines and the blue coins were only partly realized. I would have much rather had the game spent more time crafting another level or two for those additional Shine Sprites, and thinking of something more unique to do with the blue coins, then simply slapping them together in what really feels like an effort to save time.
It should once again be emphasized that , while many of these criticisms are just, others are more relative. Sunshine has both the honor and misfortune of being a part of a series with an abnormal consistency in high quality and creative spark. So while Sunshine may be well executed in most respects, and is still a whole lot of fun to play today, its more restrained and conservative sense of invention makes it lesser than most of its Mario series brethren, and its more rushed elements bring it down a peg further.
For most other series, a game of Sunshine’s quality may have felt like a trip to paradise. But for Mario, it feels like he’s taking a vacation from being the best at what he does.
You really can’t judge a book by its cover. Or in this case, a game by its concept. When news leaked in late 2016 that Ubisoft was making a crossover title between their Rabbids characters and Nintendo’s Super Mario franchsie – one that was rumored to involve guns – gamers were a bit skeptical (to put it lightly). With nothing to go by but those rumors, the entire concept sounded like some batty fanfiction. But now here we are in 2017, and Mario + Rabbids Kingdom Battle is a reality. And it’s a damn good game. Yes, it’s as strange as it sounds, but it’s also one of the freshest – and best – Mario games in recent years, and one of the best titles on the Nintendo Switch.
Mario + Rabbids really is unlike anything else bearing the Mario name. Though Mario’s world has always been one of surrealism, here it is the more sane of the game’s two clashing worlds. The Rabbids have run amok in the Mushroom Kingdom, bringing with them a sense of irreverence (and toilet humor) that would normally seem out-of-place in Mario’s usual fairy tale world.
The story goes like this: a genius inventor from our world, who also happens to be a Mario Bros. fangirl, has created the “Supamerge,” a device that can combine two objects together. While she’s away, a group of Rabbids arrive in her room/workplace in their inter-dimensional, time-traveling washing machine, and start chaotically playing with all the Mario memorabilia. One Rabbid, however, starts messing around with the Supamerge, and accidentally begins merging his fellow Rabbids with the objects around them. The Rabbid then hits the time washing machine with the Supermerge which, combined with all the Mario-themed items scattered about, inexplicably teleports the Rabbids – along with the genius’ robot assistant Beep-0 – to the Mushroom Kingdom.
From there, the Rabbid who stole the Supamerge accidentally ends up merging with the machine itself, thus giving himself the ability to combine objects. This Rabbid is found by Bowser Jr., who decides to use this Rabbid’s newfound ability to create a mutant Rabbid army and take over the Mushroom Kingdom while Bowser is away on vacation. Naturally, it’s up to Mario to save the day, but he’ll be getting some help from some of his usual friends, as well as a group of Rabbids who were cosplaying as Mario characters when they were merged, thus adopting those characters’ heroic traits.
It’s…it’s insane. Though it seems weird for a Mario game to be so meta as to present itself as a video game in its own story, it does seem a bit less inappropriate due to the outright insane idea behind the game itself. After all, this is a title in which Yoshi wields a machine gun. It’s not exactly the usual Mario fare.
Gameplay-wise, Mario + Rabbids is a tactical RPG in the vein of XCOM. The game is played in a somewhat isometric perspective, with the segments in between battles featuring some exploration and puzzle-solving elements. Players technically control Beep-0, who guides Mario and friends throughout the exploration segments. Meanwhile, the game features eight playable characters for battles, with players being able to select three of them at a time for their team.
Mario is of course mandatory to be in your party at all times, as is the case in every Mario RPG up to this point. But along the way, Mario will be joined by Luigi, Princess Peach and Yoshi, as well as four Rabbids dressed as those characters (aptly named Rabbid Mario, Rabbid Peach, etc.). Battles take place in grid-like environments, where characters take turns performing their actions. Each character is allowed three actions per turn (movement, attack, and using an ability), with the best part being that, for deeper strategy, you can swap between characters during individual actions, instead of having to blast through all of a character’s actions at a time.
These actions aren’t as simple as just making a move and attacking, however. Character placement is key to victory, and you want to be moving your character somewhere where they can cover from enemy fire, while also having enemies in their line of sight. Additionally, during the movement phase, a character can “dash” into an enemy for some extra damage, and can select a nearby teammate to perform a “team jump” to cover even more distance.
Each character has their own role to play, with everyone having their own combinations of weapons and abilities. Luigi, for example, is a bit of a glass canon; being able to deal great damage from a distance with his sniper-like weaponry, but has the least hit points of all the characters. Meanwhile, Princess Peach is something of a tank, having a large number of hit points, a shotgun-like weapon that deals close range damage, and a shield ability that let’s her soak up half of the damage enemies do to whoever she’s protecting. Rabbid Luigi specializes in debuffing enemies, while Rabbid Peach heals allies.
Even the abilities everyone shares, such as the dashes and team jumps, have unique features depending on the individual character. Mario can, of course, damage enemies by jumping on them with a team jump, while Luigi is the only character who can team jump twice in a row, and Peach’s team jump heals allies nearby to her landing position. While the Mario characters get the better jumping benefits, the Rabbids have the more varied dashing abilities. Rabbid Peach can dash into multiple enemies, while Rabbid Mario’s dash explodes as to damage other nearby foes.
Between every character’s primary weapon, secondary weapon, and special abilities, there’s a wide range of gameplay and strategy options available for every battle. Better still, you gradually unlock more character abilities (or improve those you already have) by upgrading a character’s skill tree. By winning battles and completing certain tasks, you are awarded with Power Orbs, which are essentially experience points, and are used to customize a character’s skill trees to however the player sees fit. You can even respec the characters at any given time.
Power Orbs, as well as coins for buying weapons, come in greater numbers depending on your performance in battle. Should you keep all of your characters alive and finish off enemies within a certain amount of turns, you’ll be given a better grade and better rewards, thus giving you more incentive to thoroughly think through your strategies.
I can’t compliment the battle system enough. The battles will constantly keep you on your toes and scratching your head wondering how to best tackle the enemies and their tactics, as well as how to use the environment to your advantage. There are even some types of battles that change up the rules – such as escorting Toad or getting a character to a certain point – that add a whole other layer to the battle system’s depth and complexity.
If there’s one downside to battles, it’s that your team options are more limited than you’d like. It’s understandable that Mario has to be in your team, but on top of that, you must also have a Rabbid on your team at any given time. I can understand Ubisoft wanting players to use their characters (who wouldn’t pick all Mario characters if given the option?), but if that needed to be the case, then maybe the team size should have been expanded to four characters instead of three. There were multiple occasions where I knew I would have a battle down pat if I could have both Peach and Luigi on my team. But I couldn’t do that simply because I then wouldn’t have a Rabbid in battle. And when you consider that Princess Peach and Rabbid Peach are the only characters with healing abilities (and there are no healing items in battle), you’ll likely feel the need to have at least one of them on your team at all times. While the battle system itself is insanely fun mechanically, the team limitations can be a bit disappointing at times.
Some may lament that, at only four worlds long, the game may appear to be on the short side. And considering you don’t get Yoshi on your team until midway through the fourth world, he may come across as underutilized. But each of these four worlds are decently lengthy, consisting of nine “chapters” apiece, plus a secret chapter found in each that can only be accessed after the world is otherwise completed. Additionally, after you’ve conquered a world boss, you can replay the world and face a series of challenges which further change up the rules (finish a fight in a set number of turns, get everyone to a specific spot without dying, etc.). And there are a few “Ultimate challenges” that are only available post-game, so little Yoshi still has a lot to do, despite being a last minute addition to the story mode.
Mario + Rabbids is one of the best looking titles on the Nintendo Switch, with clean, colorful graphics that take advantage of the usual Mario aesthetics, combined with a bit more absurdity to compliment the Mushroom Kingdom’s current invaders. I did experience multiple freeze-ups during my playthrough, however. Nothing that affected gameplay, but still frequent enough to note.
The visuals are a definite standout, though there was a little bit of a missed opportunity in combining the Rabbids with traditional Mario enemies. While I enjoyed all the character designs, it does seem a bit weird that Chain Chomps and Boos are the only usual Mario baddies to show up, and even then, they show up as obstacles, not enemies. Not really a complaint, but should there be a sequel, I hope to see some Rabbids donning Koopa shells or riding Lakitu’s cloud, and maybe a Bob-omb with bunny ears.
Along with the battle system, Mario + Rabbids’ biggest highlight is its musical score. Composed by the great Grant Kirkhope, Mario + Rabbids captures a unique flair in the Mario series, but one that should stand alongside the series’ classic scores. From a handful of classic Mario tunes remixed, to the completely original tracks, Mario + Rabbids has a fantastic score that is distinctly Kirkhope. So on top of Mario, Rabbids and XCOM, the game may also bring Banjo-Kazooie to mind. And that’s just swell.
2017 has proven to be a banner year for the video game medium, with one great title being released after another. And Mario + Rabbids is a standout title among that lot. It’s a surprise no one really could have seen coming (even after information on it leaked). It combines two very different franchises, and mixes in some inspirations from others, to create something that feels completely original. It’s far and away the best Rabbids game ever made, and it’s also one of Mario’s best outings in recent memory.
The Mario & Sonic at the Olympic Games series has been around for a good while now, and its newest edition – which sees characters from the Mario and Sonic universes take part in the Rio Olympics from this past Summer – now brings the series to arcades. The Mario & Sonic at the Olympic Games series isn’t exactly the biggest critical darling of either franchise (to put it lightly), so how well does it transition to arcades?
Mario and Sonic at the Rio 2016 Olympic Games Arcade Edition follows the same basic formula of its predecessors: Players pick one of several Mario or Sonic characters, and partake in mini-games themed after Olympic sports. The difference here is that the arcade cabinets provide some unique control schemes.
Two large joysticks are placed in front of the player, while they simultaneously stand on a footpad similar to those found in Dance Dance Revolution games. So a 100m Dash will see players start the game holding the joysticks in a way that mimics the starting positions of Olympic racers, before running in place on the footpad to simulate the actual racing portion, to name one example.
Admittedly, most of the mini-games are kind of fun (my favorite being archery, which uses the left joystick to aim, and the right joystick to pull the bow and release the arrow), but there is one huge problem… they are all way too short.
Granted, the sports featured are mini-games, but even with that moniker, they end incredibly briefly. I’m not even exaggerating when I say that watching the tutorials for some of the games is actually longer than the games themselves (archery is an exception, which may explain why I enjoyed it more than the others). The worst part is every time you put credits into the arcade cabinet, all you get is one game. So you’re more or less putting tokens in the machine for lengthy tutorials and only a brief snippet of gameplay. At least in Mario Kart Arcade GP you get a full race every time you play.
What makes things all the worse is that the games are chosen at random. So not only are the games short, but you don’t even have control over which ones you play. If you’re going solo, it would be nice to just pick one of the games, and would it be too much to ask for both players to vote for a game and then have one of said games selected when playing multiplayer?
Really, there’s not much else to the game. The arcade setup and physicality that comes with make for a few minutes of fun. But the utter brevity of the games, combined with their random selections, don’t give the game a whole lot of value. Play a round or two with a friend, but don’t be surprised if your tokens quickly go elsewhere.