Though the mainline Pokemon games have always been found on Nintendo’s handhelds, the fact that the Nintendo Switch combines the concepts of a home console and a handheld means that Pokemon will finally see a primary entry on a home console (while not betraying its handheld roots). This will happen when Pokemon Sword and Shield versions are released in late 2019, which will be over two and a half years after the Switch launched. To fill the gap, however, Nintendo and Game Freak released a title that would whet the appetite of hardcore fans, while also luring in the more casual crowd who got into the series through the mobile game, Pokemon Go. The result was 2018’s Pokemon: Let’s Go Pikachu and Pokemon: Let’s Go Eevee, which weaves elements from Pokemon Go into the familiar adventure from the original generation of Pokemon.
To be more specific, the Pokemon: Let’s Go titles take after the original generation’s later “Yellow Version,” which adapted elements of the Pokemon anime into the game (like having Pikachu as your starting Pokemon, who would follow the player outside of a Pokeball, and Team Rocket being based off the characters Jessie and James from the show). As the names of the games imply, depending on which title you own, either Pikachu or Eevee will fill the role of your partner Pokemon. And just like Pokemon Yellow, Let’s Go takes place in the original Kanto region, with the same locations, gym leaders and Pokemon found in the first generation of games (with the exception of the new mythical Meltan and his evolved form, Melmetal, which are obtained via connecting with Pokemon Go).
So Pokemon: Let’s Go is something of a remake. But before you get too excited at the idea of replaying the original Pokemon generation made anew on Nintendo Switch, the addition of Pokemon Go elements makes Let’s Go feel more like “Pokemon lite” than a full-on remake.
On one hand, I totally understand the appeal here. As someone who still plays Pokemon Go somewhat regularly, I understand that the lighter, simpler approach of Go definitely has its strengths. And combining that with something closer to the ‘proper’ Pokemon games just makes sense. What better way to bridge fans of all kinds together and bring a new audience into the mainline Pokemon titles?
On the other hand, Pokemon: Let’s Go can often feel crudely stitched together between its two halves in execution. It’s neither as deep as the main Pokemon titles, nor is it as breezy as Pokemon Go. It’s a nice concept that works at times, though too often leaves you wanting to either play the proper entries or Pokemon Go instead.
Basically, capturing Pokemon is similar to Pokemon Go, skipping the battle aspect and just jumping straight into trying to catch the creatures. Just as is the case with Pokemon Go, you have to time your throws to get the Pokeball in the target surrounding the Pokemon for a better chance at catching it. Unlike Pokemon Go, this is done via motion controls, as the game is played with a single Joy-con. Admittedly, this can get a little finicky, but it’s certainly not nearly as bad as the motion control detractors would surely claim (motion controls are simply different, that doesn’t make them inherently bad, internet).
Meanwhile, battling Pokemon trainers takes a more traditional approach, with the turn-based RPG battle system intact. Despite catching Pokemon no longer requiring the assistance of battling with your team of Pokemon, both catching new monsters and defeating trainers will net your current team with experience points. Additionally, if you catch multiple specimens of the same Pokemon in succession, you’ll nab additional rewards.
This combination Pokemon Go’s catching system and traditional trainer battles makes for a few issues, however. The most prominent of which being the awkward pace it gives the game. You’ll likely spend a decent amount of time willingly catching Pokemon, since it’s so quick and easy, but then head into a town and be faced with one battle after another that ends up feeling like a slog.
Another problem is that, like in Pokemon Go, you can lose several Pokeballs trying to catch even a single Pokemon. But unlike in Pokemon Go, where you can always get more Pokeballs (and other items) by spinning the Pokestops located just about everywhere in real life, you have to purchase your items in Pokemon: Let’s Go just as you do in the main games. So be prepared to burn through all the in-game currency you get for defeating every trainer in town as soon as you catch a handful of Pokemon and exhaust your inventory.
There’s nothing innately wrong with either of the game’s two halves, but they just never seem to mesh together in the way they should. That’s not to say that Pokemon: Let’s Go is bad – it definitely has its appeal – but it does feel like something of a missed opportunity.
Pokemon: Let’s Go definitely provides some good fun from time to time, and even throws in some elements from newer Pokemon generations (like dressing up your character and Pikachu/Eevee, or hitching a ride on the back of your larger Pokemon). The graphics are smooth and the character designs charming, and it’s fun to hear the classic Pokemon tunes brought up to date. And for completionists, a host of post-game content gives the game some extra life.
There’s certainly an audience out there for Pokemon: Let’s Go Eevee/Pikachu, and for some, it may actually serve as the bridge between Pokemon Go and ‘Pokemon proper’ that it intends to be. But the sum of Pokemon: Let’s Go is never as good as its individual parts. Let’s Go flip-flops between being too simple and too bloated, making for an awkward experience that, sadly, doesn’t quite click as well as it sounds like it would.
Yoshi hasn’t had the best track record of Nintendo’s many iconic characters. Though his roles as Mario’s sidekick in Super Mario World and Super Mario Galaxy 2 were lauded, when it came to the cute dinosaur’s starring roles, things were a bit less consistent. He got off to a phenomenal start in Yoshi’s Island: Super Mario World 2, which was considered part of the official (albeit loose) Mario series canon. Yoshi’s Island took the foundations Mario created, and transformed them to make one of the best platformers of all time.
After that, however, Yoshi’s starring titles lost their luster. Yoshi’s Story – the N64 follow-up to Yoshi’s Island (that isn’t part of the main Mario series) – was one of the most shallow first-party games Nintendo has ever made. From there came uneventful spinoff titles like Yoshi’s Topsy Turvy and Yoshi’s Touch & Go (which weren’t bad, but didn’t have a whole lot of value). Finally, Nintendo decided to try to replicate Yoshi’s original success, creating quasi-sequels to Yoshi’s Island in the forms of Yoshi’s Island DS on Nintendo DS, and Yoshi’s New Island on 3DS. The results were mixed, with DS only replicating the original Yoshi’s Island on face value, and New Island failing to live up to the original in any way, shape or form. Perhaps Yoshi was just better suited as Mario’s stead?
But then, Nintendo seemed to find the right developer to get Yoshi back on track. Good-Feel, the studio that previously developed Wario Land: Shake It! and Kirby’s Epic Yarn, were tasked with creating a spiritual successor to the latter. But instead of returning to Kirby, Good-Feel developed Yoshi’s Woolly World for the Wii U, a title that combined the yarn aesthetics of the studio’s Kirby adventure with familiar gameplay elements of Yoshi’s Island.
Though the end result could never live up to the masterful Yoshi’s Island, Woolly World delivered the first Yoshi game that could be seen as a worthy follow-up to the SNES classic. And now, Good-Feel has made a return visit to Yoshi’s island with a follow-up to their previous outing in the form of Yoshi’s Crafted World. While the game itself isn’t radically different from its predecessor, Yoshi’s Crafted World still boasts the same undeniable charm, and is another example that Good-Feel are perhaps the best visual artists in the gaming medium.
As the title implies, the wool and yarn aesthetics of Woolly World have been replaced with an arts & crafts motif. While that may not seem as innately adorable (cardboard is objectively not as cute as yarn), Crafted World’s consistently creative visual charm will quickly win you over all the same.
In a time when I’ve stared at so many photorealistic humans in video games that I’m now more likely to shrug my shoulders at realistic graphics than be impressed with them, it takes a genuinely striking art direction to stand out. And Good-Feel is one of the few studios to continuously pull the feat off. Even more impressively, they often find ways to weave their visuals into the gameplay.
Though Yoshi boasts the same bag of tricks he has since Yoshi’s Island – like flutter jumps, ground pounds and the ability to eat enemies with his prehensile tongue which, of course, turns them into eggs which can then be thrown at various objects – the new arts & crafts geddup has changed things up a bit. Based on whatever material the surrounding environment is made from, Yoshi might throw an egg at a wall which then unfolds into a staircase, or he might sink into a pillowy floor.
Admittedly, I don’t think there’s quite as many “gameplay merges with visuals” moments as Epic Yarn or Woolly World, but the creativity always shines through. Every last enemy, object and environment looks like it was made in arts & crafts. Ninja Shy Guys throw aluminum foil shurikens, Yoshi can toss magnets onto giant soda cans to create platforms, even the infamous first boss of Yoshi’s Island, Burt the Bashful, returns with a makeover in the form of Burt the Beach Ball.
Every last moment of Yoshi’s Crafted World catches the eye. Not only does it look great, but the clever ways in which the developers reimagined so many familiar faces and assets, and recreated them from different materials, never ceases to be charming. Yoshi’s Crafted World is a delight to look at from beginning to end.
There are a few new elements added to the classic Yoshi gameplay that don’t rely on the new visuals. Since Yoshi’s Island, Yoshi has collected Happy Flowers and Red Coins, and needed to complete a level at full health to clear a stage with one-hundred percent completion. And while that’s still true here, a few new layers have been added to Yoshi’s completionist traditions.
Though Yoshi’s hit points retain a twenty heart maximum, and each stage still hides twenty Red Coins, the number of Happy Flowers now differ between stages. Anywhere between three and nine Happy Flowers are hidden in a stage (either on their own, or requiring a certain action on Yoshi’s part to reveal them). Additionally, three more Happy Flowers are earned by claiming all of a stage’s Red Coins, getting to the exit with full health, and grabbing 100 regular coins (definitely the easiest of the lot). The extra emphasis on the Flowers is due to their newfound importance, as they are now needed to unlock different areas in the game, similar to Mario 64’s Power Stars or Banjo-Kazooie’s Jiggies.
Even when the levels are done, they still aren’t done. After the first few stages are completed, new options become available to give the levels reasons for revisits. Characters on the overworked will ask Yoshi to collect a certain amount of a specific item located in a particular stage (you ‘collect’ these objects by throwing eggs at them, naturally). And even more noteworthy, completed stages unlock the option to play them in reverse, with the goal now being to find a certain number of Poochy pups and guide them to the stage’s exit (which is its former entrance).
New to the series is the ability to walk into the foreground and background. Sadly, you don’t get too many scenarios that utilize this mechanic to its fullest, but there are still a few instances where puzzles and objects have to be completed or obtained by paying close attention to all of your surroundings. Unfortunately, aiming eggs at the background of foreground can sometimes be a bit finicky.
Another gameplay addition comes in the form of score attack stages, which take a break from the collecting-focused nature of the rest of the game and emphasize a certain gimmick that requires a high score. Example include destroying objects with a giant Yoshi robot, jumping through hoops, popping balloons, and my personal favorite, a rail-shooter stage where you throw eggs at targets while aboard a train that reminds me of the Toy Story Mania ride at Disneyland.
Unfortunately, one change from Wooly World that isn’t for the better comes in the form of ‘costumes,’ which replace the wool item from the previous game. In Wooly World, finding wool would unlock a different Yoshi, which could be simple color alterations, or possess wacky patterns modeled after other Nintendo characters (with Amiibo being used to unlock a number of the specific character Yoshis). It was pointless, but fun.
Here in Crafted World, however, the only Yoshi’s available are there from the start of the game (with player’s choosing which Yoshi they want to play as for the rest of the adventure). So instead of different Yoshis, you simply unlock new costumes for Yoshi, which will take the first hit from an enemy like a shield, meaning maintaining your hearts is marginally easier.
That sounds fine and all, and admittedly the costumes come in a fun variety of everyday items (such as coffee creamer cups or tuna cans). Despite being more practical, however, the costumes just aren’t as fun or enticing to collect. Even the number of Amiibo that can be used for the game has been greatly reduced, meaning that not only do the costumes have less variety than the wool from the previous game, but it also lacks the personality and references as well.
Another fun little twist to Crafted World is that its overworld takes several branching paths, with players often able to select which areas to explore whenever they see fit. The story involves Baby Bowser and Kamek trying to steal five magic gems from the Yoshis, and inadvertently spreading them across the island during the kerfuffle. As you might have guessed, a boss holds each gem, but the game doesn’t necessarily have only five worlds. Instead, Yoshi’s Crafted World features a myriad of mini-worlds (two or three stages apiece), that connect to different paths, with the big bosses waiting at the end of each path. There still is a set destination for the fifth gem, so it’s not completely open, but by shrinking the sizes of the worlds, we get to have a variety of different themes found in any given path, as opposed to the usual “fire world, ice world, desert” nature of platformers.
If there’s one element of the game that’s a bit of a mixed bag, it’s the music. That’s not to say the music is bad – it’s cutesy, playful sound fits the game quite nicely – but it lacks variety. Even a number of later stages in the game, which have drastically different themes from those at the start of the game, still use many of the same tunes. Again, the music that is present is charming, but it kind of detracts from the experience when the music stays in the same place the whole way through.
Yoshi’s Crafted World is admittedly not quite the same breath of fresh air that Kirby’s Epic Yarn and Yoshi’s Woolly World were upon their releases, but it carries on their legacy proudly, and is every bit as smile-inducing as its predecessors. Good-Feel has an uncanny ability at visual craftsmanship in gaming, and Yoshi’s Crafted World is another testament to those abilities. The gameplay makes for a light and relaxing good time, while the visuals will keep you glued to your screen in awe from the moment your selected Yoshi departs on their adventure to the time the credits roll.
With a name like Super Smash Bros. Ultimate, the Switch’s edition to Nintendo’s massively-successful crossover fighter certainly gave itself a lot to live up to. Somewhat miraculously, Ultimate manages to pull that very feat off, delivering what is undoubtedly the best entry in the long-running series to date. Bursting at the seams with content and fine-tuning the series’ gameplay, Super Smash Bros. Ultimate lives up to its lofty expectations, even if a lackluster adventure mode and a thin (and inconsistent) lineup of new fighters means it doesn’t quite surpass them.
Super Smash Bros. really doesn’t need an introduction at this point. The franchise has become one of Nintendo’s biggest sellers thanks to its engrossing gameplay, which combines elements of traditional fighting games with Mario Kart-esque party elements, all while incorporating sumo style rules that make it unique unto itself.
By ‘sumo style’ rules, I of course refer to Super Smash Bros’ key mechanic of sending opponents off the screen – similar to sumos throwing each other out of the ring – in order to defeat them, as opposed to depleting a health bar as in most fighters. Though with that said, the ‘Stamina mode’ first introduced to the series in Melee, in which players do deplete each other’s health, returns as one of Ultimate’s primary game modes, no longer relegated to a kind of bonus mode as in the past.
That seemingly small change is indicative of the very nature of Super Smash Bros. Ultimate. This is the Super Smash Bros. that attempts to legitimize every play style for the series, and to appease every type of Smash fan. And for the most part, Super Smash Bros. Ultimate wildly succeeds in doing just that.
If you’re a serious Smash player, you can remove items and play on flat stages a la Final Destination or small stages with minimal platforms in the vein of the classic Battlefield stage, with no match-altering Final Smashes included. Players who want chaotic fun can have all items active, Final Smashes turned on, and enable every last, crazy stage hazard and gimmick. Or, if you’re somewhere in between, you can play on the standard stages with the gimmicks turned off, only allow Final Smashes by means of building up a power meter during battle, and only enable the occasional Pokeball and Assist Trophy in regards to items.
The ways in which you can customize matches are boundless. This really is the Super Smash Bros. that can appeal to any Nintendo fan. At least in terms of the core gameplay, that is.
If there is one glaring downside with Super Smash Bros. Ultimate, it’s with the game’s adventure mode. Dubbed ‘World of Light,’ Ultimate’s adventure mode is mind-numbingly tedious, and simply not worth the time and effort it takes to see it to the end.
In World of Light, players initially take control of Kirby, the only survivor of a Thanos-style mass extinction, as they progress through one battle after another, unlocking the other characters and collecting ‘Spirits,’ which are won after defeating opponents in possession of said Spirits.
These Spirits are a new feature in Ultimate, replacing the series’ long-standing trophy collectibles. It’s ultimately an unfair trade. While the trophies of Smash’s past featured unique character models and gave some insights into Nintendo (and gaming) history, the Spirits are merely presented as stock promotional art from past games, and provide statistical bonuses to your characters when equipped. Spirits can grant boosts to attributes like strength or speed, or provide you with a special ability (such as starting fights with a particular item, or being resistant to certain types of attacks).
This may sound interesting in concept, but it kind of goes against the very nature of Super Smash Bros. This is a fighting series all about learning the different play styles of the various characters. So if you have Spirits activated in the standard game, it makes things more about who has the best Spirits equipped, as opposed to who played the best in any given round.
Suffice to say the Spirits find all of their appeal in the single player World of Light mode. Though even then, the game often mishandles their usage. Pulling a page out of Paper Marios Sticker Star and Color Splash, there are a number of battles in World of Light in which it is necessary to have specific Spirits equipped in order to win. If the Spirits gave you advantages in these situations, that’d be fine. But on more than one occasion you will come across a battle in which victory is impossible unless you have a specific Spirit equipped.
Another issue with World of Light is that it’s just too long for its own good. It features an unnecessary amount of branching paths, alternate routes, and overall battles. And when it finally looks like you’re done with it, World of Light pulls a Ghosts ‘N’ Goblins on the player and extends the adventure by rather lazy means. To detract from the experience even further, World of Light is exclusively played by a single player. Super Smash Bros. Brawl’s adventure mode, Subspace Emissary, was far from a winner, but at least I could play that with a friend.
Not to mention Subspace Emissary served as a fast means of unlocking every character. But World of Light just drags on and on, with the lonesome tedium making you seek one of the many other means of unlocking the characters (thankfully, there are no shortage of options when it comes to expanding the roster). The fact that World of Light actually makes me long for Subspace Emissary could be a sign that maybe Super Smash Bros. is better off without an adventure mode at all.
Of course, the adventure mode is just a small part of the overall package, and every other mode included in the game delivers in spades: Classic Mode is more fun than ever, and includes unique challenges for every last fighter. Tournaments are easier to set up than ever before. New Squad Strikes have players selecting teams of characters and eliminating them one by one. Smashdown sees players cycle through the entire roster one at a time, with previously selected characters getting locked out after use. The variety never ceases to impress.
On the concept of variety, the biggest selling point of Super Smash Bros. Ultimate is that every playable character from the franchise’s history is present. If they were playable in a past Super Smash Bros. title, they’re playable here. So those of you who missed Solid Snake for being omitted from Super Smash Bros. on Wii U/3DS, he’s back. Young Link and Toon Link can now face off against one another. Pichu makes his return after seventeen years (they can’t all be winners). The DLC characters from Wii U/3DS return. Even the good ol’ Ice Climbers have found their way back to the series, after technical limitations on the 3DS prevented their appearance in the last installments. And yes, we even get a handful of new characters joining the fray, meaning that Super Smash Bros. Ultimate has all of the character variety of each and every one of its predecessors put together and then some.
Speaking of the new characters, that’s where things can be a bit inconsistent when it comes to selections. Ridley and King K. Rool feel like the most meaningful newcomers, given that they’ve been in high demand from fans since Melee. Splatoon’s Inklings also make sense as they represent one of Nintendo’s contemporary success stories. And Simon Belmont feels long overdue in the third-party character department (seriously, besides Mega Man, what other third-party character even compares to Castlevania’s early history with Nintendo?).
The remaining newcomers, however, are a bit of a mixed bag. Isabelle from Animal Crossing – though a welcome addition in her own right – doesn’t exactly come across as a character fans were dying to see join the series. Incineroar feels like he could have been any randomly selected Pokemon. And the downloadable Piranha Plant just feels like a big middle finger to the fans who have been requesting their favorite characters for years. That’s not to say that these characters detract from the gameplay by any means. But for a series so grounded in fanservice, some of these character selections feel misguided.
Perhaps with more newcomers the more disappointing entries wouldn’t stick out so much. But with most of the emphasis going towards bringing back every past character, you kind of wish that the smaller quantity of newcomers would have translated to a consistent quality. And that’s unfortunately not always the case.
Some fans may also lament that clone characters – now officially referred to as “echo fighters” – are still present, but at least now they’re categorized appropriately, and not treated as though they’re full-on additions to the franchise.
Still, it’s hard to complain too much when Ultimate boasts seventy unique characters (with more on the way via DLC. Here’s hoping some favorites make the cut). There’s simply never a shortage of characters to choose from, and all of them bring their own sense of fun to the gameplay (with the possible exceptions of the excessive amount of sword fighters from Fire Emblem, who often feel interchangeable even when they aren’t clones).
Each character’s Final Smash has also been altered this time around, as they take on a more cinematic approach. Unfortunately, while the Final Smashes look more impressive than ever, their infrequent interactivity makes them less fun than in previous installments. This was probably done for the sake of balance, which is admirable. Though chances are, if you have Final Smashes active, you aren’t exactly aiming for a balanced, competitive bout.
The stages also adhere to Ultimate’s “everything but the kitchen sink” mentality. Although there are a few omissions, the majority of stage’s from past Super Smash Bros. titles make a return (unfortunately, Brawl’s Electroplankton-inspired stage is bafflingly among them). There are only four brand-new stages in the base game: Odyssey and Breath of the Wild themed levels for Mario and Zelda, and courses based on newly-represented series Splatoon and Castlevania. That may not sound like a whole lot of newness, but more stages are planned to be added along with the DLC characters. Besides, with the returning courses, Super Smash Bros. Ultimate includes over one-hundred different locations to do battle. And as stated, every last stage comes in three different versions (standard, Battlefield, and Final Destination), so you’re not very likely to get bored from repetition.
For those who don’t always have someone at the ready for some couch multiplayer, Super Smash Bros. Ultimate also expands the series’ online capabilities. Creating online matches has been streamlined by means of creating arenas, where players can set the rules as they see fit. You can even search for specific rulesets if you want to join an arena that’s more to your play style (though admittedly, the search engine needs some work). It’s now much, much easier to set up or join an online match and play with or against Smash players from around the world.
Sadly, the online functionality still isn’t perfect. Though lag is considerably less frequent than in Brawl or Wii U/3DS, it’s still present more often than you’d like. It isn’t limited to worldwide matches, either. I’ve encountered some slowdowns in games against my friends. Again, the lag isn’t so common as to detract from the overall experience, but considering that in five years’ time I’ve never encountered any lag issues in Mario Kart 8 (whether on Wii U or Switch), you have to wonder how and why Nintendo can’t replicate that level of online functionality with their other multiplayer franchises.
Other quibbles with the online mode include some minor (but no less irritating) design quirks, such as leaving your place in cue for the next fight in an arena just to change your character’s color (let alone change your character). Or why entering the spectator stands also removes you from cue (why the cue and spectator stands aren’t one and the same is anyone’s guess). Again, these are all just minor annoyances, but you have to wonder why they’re there at all.
Of course, it must be emphasized that, with the exception of the World of Light adventure mode, all of the complaints to be had with Super Smash Bros. Ultimate are minor grievances in the big picture. The series’ signature gameplay has never felt so polished, the content has never felt this endless, and with every last character in franchise history present, Super Smash Bros. has never felt this complete.
Super Smash Bros. Ultimate is also a technical showcase of the Switch’s capabilities. Though it retains a similar overall look to Super Smash Bros. for Wii U/3DS and Brawl, the graphics are much sharper and more refined. The level of background detail in the stages themselves – often so small you’d never see them in the heat of battle – is a testament to the abilities of the artists behind the game. The character animations are similarly impressive, especially those with unique characteristics (such as DK’s eyes bulging out of his head when hit, Donkey Kong Country-style; or Wario’s manic, sporadic movements).
Complimenting these visuals is a soundtrack that represents an unrivaled array of video game music, featured in both their original and new remixed forms in addition to many remixes from past Super Smash Bros. installments. Unfortunately, I don’t think there’s quite as many new pieces of music added into the fray as Brawl and Wii U/3DS brought to the table, but it’s hard to complain too much when the music is this terrific. Not to mention the soundtrack to Super Smash Bros. Ultimate is inarguably the biggest library of classic video game themes ever compacted into a single game.
On the whole, Super Smash Bros. Ultimate is an absolute winner. Its overall sense of newness may not be as prominent as the past few entries, but its inclusion of the best elements of every past installment, along with each and every last one of their characters, makes this the definitive entry in the long-running Super Smash Bros. series to date. With the exception of its egregious adventure mode, everything about Super Smash Bros. Ultimate is exploding with fun. With so many characters, stages, modes, and options, the content included in the package is seemingly bottomless, leading to an unparalleled replay value.
Super Smash Bros. Ultimate is not only the best game in the series, it’s one of the greatest multiplayer games ever made.
Despite being one of the more fondly remembered games on the Sega Genesis, Toejam & Earl has had a rough time in the sequel department. Beloved for its originality and off-beat humor, Toejam & Earl saw its titular duo of funky aliens take part in an exploration-based adventure. In search of ten missing pieces of their crashed rocket ship, Toejam (the red one with the eyestalks) and Earl (the one who looks like a proto-Patrick Star) traversed a series of randomly generated levels, avoiding annoying humans, throwing tomatoes, and opening presents to get power-ups along the way. While just about everything else on the Genesis was trying to replicate Sonic’s sense of ‘cool,’ Toejam & Earl’s wacky originality stood out.
That’s why it stung a little when its sequel, Toejam & Earl in Panic on Funkotron (also on Genesis), was a simple 2D platformer in a time when such games were commonplace. Though it was decently remembered in its own right, Panic on Funkotron’s lack of originality made it fall by the wayside. It would be another decade before the duo would return in Toejam & Earl: Mission to Earth on the original Xbox. And while the series’ sole 3D entry attempted to recreate the gameplay of the original game, its mixed reception – combined with the very different tastes of gamers in the early 2000s – meant that Toejam and Earl once again faded into obscurity.
There they remained for another seventeen years. But after a successful Kickstarter campaign from series creator Greg Johnson, and some back-and-forth between publishers over the past couple of years, Toejam and Earl made their long awaited comeback in March of 2019 in the form of Toejam & Earl: Back in the Groove, bringing the gameplay from the original 1991 game along for the ride.
For fans of the series, there may be a wee bit of a double-edged sword in this regard. Back in the Groove is both a wonderful return for the series, and a refreshingly silly joy in today’s overly serious gaming landscape. But if you’re a fan of the original Toejam & Earl, Back in the Groove can feel more like a remake than a full-on sequel.
That’s not a terrible thing, of course. Not when Toejam & Earl still feels unique twenty-eight years on. But it does put Back in the Groove in a strange state of being unique among other games, but derivative of itself.
Just as in the original game, Toejam and Earl have crash landed on Earth, and must recover their ship’s ten missing pieces in order to head back home to planet Funkotron. As a bit of a joke, this time around the aliens borrowed their friend’s ship (because they didn’t want to risk crashing their own ship again, naturally). Otherwise, it’s basically the same plot.
Another difference is that, this time around, there are nine different playable characters, six of which are playable from the start: Toejam and Earl (obviously), in addition to the same duo with their classic designs (aptly named Classic Toejam and Classic Earl), as well as Toejam’s ladyfriend Lewanda, and Mission to Earth’s Latisha. Though it should be noted that the differences between characters are purely cosmetic.
Otherwise, the gameplay largely echoes the original game: You travel across different landscapes, looking for the elevator that leads to the next stage. Levels that feature a rocket piece are marked upon entry, meaning to beat the game, you have to track the piece down before heading for the elevator. Be careful, as you can fall off a stage and back to the previous one, leading to a tedious trip back up.
Toejam and Earl (and the rest) are normally defenseless against persistent earthlings. But our heroes can gain weapons and power-ups (such as the aforementioned tomatoes) by finding and opening presents. What’s inside of each present is at first a mystery to the player, until you pay a wiseman (an old man in a carrot costume, naturally) to identify them for you, with each type of present remaining identified for the rest of the current playthrough. Additionally, by opening presents and uncovering more areas of the map on each stage will give you experience points. Once enough experience points have been gathered, you can ask the wiseman to level you up.
While the leveling up feature was present in the original game, it was mostly just to see the joke of the next level’s title, here in Back in the Groove, each level will grant you a bonus such as improved speed or the capacity to carry more presents. It’s a nice touch of RPG character progression that makes the leveling system actually worthwhile this time around (don’t worry, the joke names for each rank are still present). The only issue with it is that the bonuses are received via roulette wheel, meaning the randomness prevents you from building your character how you want.
That random element is of course present in other areas as well. Though the items in each different present will be consistent during the same playthrough, the items and presents will swap with every new playthrough. That’s fine. But less tolerable is when a level spawns a second, fake elevator, which will take you back to the previous stage (though you do have a small window of time to exit the elevator before its door closes, saving you the tedium). Certain random elements such as that probably won’t sit well with some players.
The one random element the series does best, of course, are the randomly generated stages. When the original Toejam & Earl hit the Genesis in 1991, it was rare among games at the time for being different with every playthrough. While the goal of collecting ten ship pieces may have always been the same, each stage provided a new challenge, and oftentimes you never knew when another ship piece would show up.
That’s still true here, but with an unfortunate caveat: you have to unlock the randomly generated playthrough option. Before you can play Back in the Groove the way it was meant to be played, you have to give a pre-set adventure a go. Granted, this was probably done to ease newcomers in, but it would be nice if Toejam & Earl veterans had the option to play with the randomly generated stages from the get-go.
Ultimately, these aren’t major complaints. As stated, Toejam & Earl remains a pretty unique game, so Back in the Groove’s overt reminiscence of it isn’t a deal-breaker. Nor is the act of unlocking the random stage layout (albeit it is a little bummer). The gameplay is still fun, with the game being at its best with its multiplayer co-op mode (another feature from the surprisingly forward-thinking original, but now with the modern benefits of playing with up to four players online). The graphics are vibrant and cartoonish, with a kind of “90s Nicktoon” appeal. And true to the nature of the funky rapping aliens, the music is as cool and funky as ever.
Perhaps the biggest takeaway from Toejam & Earl: Back in the Groove, however, is its utter charm. In the modern gaming world where AAA and Indie titles alike feel like they’re made more to earn awards from critics than to entertain, Toejam & Earl: Back in the Groove is refreshingly silly and innocent. Spend a few hours as Toejam or Earl (or one of the other characters) as you run from teens pre-occupied on their cellphones, throw tomatoes at evil dentists, seek refuge with Ghandi, roll a D20 with a group of nerds, and jam out with some alien buddies, and you’re bound to have a smile on your face.
Tetris really is the eternal video game. No matter how gaming evolves and advances, no matter how quickly it makes progress, Tetris remains one of the medium’s few constants. While many critically-acclaimed titles prove to lose their luster in the long term, Tetris will always be one of gaming’s quintessential titles.
Tetris 99 – the completely free Nintendo Switch exclusive – is just another example of Tetris’s uncanny ability to adapt to any gaming landscape. As the battle royal genre has quickly come to prominence thanks to PlayerUnkown’s BattleGround and Fortnite Battle Royal, Tetris 99 throws the classic puzzler’s hat into this ring. Somewhat poetically, the simplicity of Tetris translates so easily into the battle royal genre that it’s currently the best product of the genre on the market.
To put it simply, Tetris 99 is exactly what it says it is: Tetris with ninety-nine players. Simply start up a game, and soon enough you’ll be paired with ninety-eight other players from across the globe, experiencing the classic Tetris gameplay as you aim to be the last player standing.
The core gameplay remains as it always has: the flawless combination of different shaped ‘Tetrominos” fall from the top of the screen, with the player needing to fit them into rows, thus eliminating them, earning points, and preventing them from reaching the top of the screen. Like in most competitive Tetris titles, clearing rows will also send “garbage blocks” to your opposition. Garbage blocks rise from the bottom of the screen, and bring the player closer to defeat.
Of course, with ninety-nine players, things can get chaotic really quickly. Players control the Tetrominos on their board with the D-pad, while they target other players using the joysticks to aim at any of the other players on screen. The chaos begins once players start getting eliminated, and their are fewer and fewer targets on the board. As you may have guessed, this means that multiple players will soon start to target the same opponent. And if you happen to be that opponent, you can kiss your hopes of victory goodbye.
Admittedly – perhaps due to the battle royal genre still being in its infancy – the translation of Tetris to the genre isn’t quite perfect. Given that there are ninety-eight miniature boards representing the other players on the screen, it’s hard to make out the details of what they’re doing, which means you’re mostly targeting other players at our random or, at its worst, forgetting to change targets at all and just let the cursor move on its own as players are eliminated. Of course, compared to the bugs, glitches, and technical issues that still plague PUBG and Fortnite, the sometimes rough translation of Tetris 99 isn’t so bad.
The sometimes confusing interface prevents Tetris 99 from reaching its full potential, but it’s still the most easily accessible and fun battle royal title yet. It takes one of gaming’s greatest classics and uses it to help polish up a contemporary genre. And as a free download, there’s absolutely no reason why every Switch owner shouldn’t have it in their library.
I ramble about Super Smash Bros. a lot, and I plan to write my full review of Ultimate really soon, so I’ll try to keep this quick. But the other day, I saw a tweet that made a good point, claiming that Ultimate, more so than Brawl or Smash Bros. for Wii U/3DS, has a list of Assist Trophies who should be playable characters, and playable characters who should be Assist Trophies.
Now, this person did leave out the first four announced newcomers in Inkling, Ridley, Simon Belmont and King K. Rool in their argument. Some people argued that that skewed the original poster’s point, but they emphasized that they left those characters out because they thought they were deserving newcomers. Hard to argue that, seeing as Ridley and K. Rool have been two of the three most wanted characters for over a decade, Inkling represents a contemporary Nintendo franchise, and Castlevania’s history with Nintendo goes without saying. But they pointed out that the remaining newcomers – including echo fighters – when compared to a number of characters who were relegated to Assist Trophies, leave a lot to be desired. And I kind of agreed.
Yes, I am aware that the echo fighters “don’t take up much programming space” yada yada yada. I get that. But let’s face it, they’re still difficult characters to get too excited over. Especially when we get reminded of the characters we could have had. And if the remaining newcomers are a little on the… ‘iffy’ side, well then those echo fighters are going to mean even less.
But let’s get back to the remaining newcomers. Isabelle is a choice that makes sense given Animal Crossing’s immense popularity. And you know what, I like that she’s in the game and think she’s very fun to play. However, whenever I remember that Shovel Knight and Bomberman are simply Assist Trophies, Isabelle’s placement as a playable character loses some of its appeal. Yeah, she’s a good addition, but if I – and many, many others – had a choice between Isabelle and Shovel Knight or Bomberman, well, I think we could all agree that’s a runaway victory for Shovel Knight and Bomberman.
Then of course, we have Incineroar. Now, again, I completely understand the popularity of Pokemon, and have stated in the past that it’s one of the few series where it could potentially have as many characters as it wants. But, also again, when we look at characters who didn’t make the cut who fans have been begging for for years (Isaac from Golden Sun, anyone?), it boggles the mind that a Pokemon as random as Incineroar would be chosen instead. I mean, at least someone like Decidueye would be unique with his grass/ghost typing and emphasis on archery. But Incineroar kind of just seems to cover ground that’s already been covered in Smash being a brute character with fire moves. Again, I don’t hate Incineroar, but why are so many characters fans have wanted relegated to Assist Trophies in favor of random selections like Incineroar.
Oh, but then we have the soon-to-be-released Piranha Plant. Now this is where I feel the selection was just a massive letdown. I mean, no one asked for a generic enemy (and if they had to add one, why not Goomba? At least Goombas are kind of the most iconic generic enemy in games, so they have that going for them). Some people claim Sakurai wanted to do something unexpected to surprise fans, but does a surprise really matter if it ends up disappointing? I mean, if someone ding-dong-ditched me and left a flaming bag of dog poop on my porch, I’d be surprised, but certainly not happy about it.
Sure, Piranha Plant could end up being a fun character to play. But its inclusion still seems like a slap in the face to all the fans who have been dying to see their favorite characters make the cut. I repeat, people really, really wanted Isaac, Bomberman, Shovel Knight, and many others. No one wanted Piranha Plant. And for a series as grounded in fanservice as Super Smash Bros., it just seems like a counterproductive move to so blatantly go the opposite direction of what fans want.
Yeah yeah, I’m going to bring up Geno again. Of course I am. But I don’t continuously bring up Super Mario RPG’s possessed puppet without reason. Fans have begged for the character’s inclusion for perhaps longer and more adamantly than any other character (wit the possible exceptions of K. Rool and Ridley), and yet, time and again, Super Smash Bros. fails to deliver on him. Granted, there’s still hope for Geno to make it as DLC, seeing as he doesn’t appear as an Assist Trophy. But there’s no guarantee to that. Some people think the fact that he shows up as a spirit deconfirms him, but that just sounds like a weak argument, since the spirits are just stock images that boost stats and don’t actually appear physically in matches.
But as I’ve stated ad nauseam, Geno’s continuous absence seems to personify the wonkiness of Smash’s character selections and omissions. I mean, if the most requested characters by fans can’t make it in, but Piranha Plant can, it seems to go against the very nature of the series.
Some people defend these selections by claiming that “it’s Sakurai’s game” and while that’s true, his is a game series built on fan service. It’s not like he’s telling a deep, personal story with the series. It’s Nintendo (and other) characters beating the crap out of each other.
What’s really annoying is when Sakurai apologists lash out against disappointed fans, as though they don’t have a right to be disappointed. We all love Smash Bros., but again, when the characters people want keep getting ignored while seemingly random selections make it in, it’s annoying. I love Super Smash Bros. Ultimate, and I think it’s the best game in the series. But would I enjoy it more if I could play as Geno? Oh, hell yeah! Without question.
Look, I understand that not everyone can be pleased, and some fans are always going to be disappointed. But there’s a difference between certain characters not making the cut, and the characters people have wanted most for over a decade not making the cut in favor of characters no one asked for (again, that damn plant!). It just comes off as spiteful (even if that isn’t the intent).
Even K. Rool and Ridley, despite their demand, had to wait until now to finally make it into the series, with Sakurai always coming up with rather weak reasonings for their omissions in the past (the “character uniqueness” statement in regards to K. Rool was particularly laughable, given all the similar characters already present in the series). I don’t want to complain too much about that, since they’re here now. Better late than never and all that. But given some of the characters who made it in before them, it’s pretty head-scratching.
What’s particularly hypocritical of the fans who dismiss those who express disappointment is that they’ll often ridicule fans of a particular character when they’re not in, but once a character makes it in, they suddenly act like they were always onboard with the idea since Sakurai and company gave the green light. It’s like, what a bunch of trollish sheep.
Look, I hope I never sound too negative in regards to Super Smash Bros. I truly love the series. But that’s why I get so passionate about it, both the good and bad. It’s easy to love the games themselves, but it’s often hard to ignore what could have been… especially if what we get is Piranha Plant.
Again, I hope to have my review of Super Smash Bros. Ultimate up soon. And since the omissions of my (and other people’s) most wanted characters isn’t a serious fault in terms of game design, I won’t be talking much about this stuff in my review. Hence why I decided to get it out of the way here. It’s certainly not the first time I’ve ranted about the Smash roster, and it surely won’t be the last.
My review of Ultimate is definitely going to be mostly positive (except in regards to World of Light). So please don’t think I’m just a grumpy guys when it comes to Smash. It’s just that I, like many fans, have the right to be disappointed when the series, frankly, disappoints in certain areas.
Super Smash Bros. Ultimate is finally here, and it’s yet another jewel in the crown that is the Nintendo Switch. Although it may be premature of me to say this, given I haven’t tried out all of its modes yet, but Ultimate may very well be the best Super Smash Bros. title yet.
Like any sequel to a multiplayer title, the gameplay hasn’t exactly changed much, but something about it definitely feels smoother. It just feels right to control. It’s hard to explain, but it seems like every returning character I’ve tried feels more fluid to control than they did in past games, and the newcomers are just as smooth. The gameplay may be the series’ trademark “sumo rules” take on the fighting genre, but it just feels so polished.
Another big improvement over past games is the Classic Mode. As much as I appreciate Super Smash Bros for 3DS/Wii U trying to make Classic Mode into something bigger, it never really enticed me to try it out with every character. But here in Ultimate, I find myself wanting to complete Classic Mode with every new character I unlock. The beauty lies in its simplicity, as Classic Mode sees each character go through six fights, a bonus stage and a boss enemy, with each character’s opponents being vague (or literal) little callbacks to their own games.
For example, Ryu’s version utilizes stamina rules to reflecting the traditional fighter nature of Street Fighter. Meanwhile, Mega Man’s journey ends with a battle against Dr. Mario who, once defeated, becomes Mewtwo, subtly referencing the final fight against Dr. Wily in Mega Man 2). And in perhaps my favorite example, Dr. Mario’s fights are against triple opponents, with each bearing a red, blue and yellow color scheme in reference to the viruses from the classic puzzler. It’s just simple, fun and addictive.
Admittedly, the Adventure Mode, dubbed ‘World of Light’ is one I have yet to play. I’ll get around to it, but honestly, Brawl’s Supspace Emisary story mode was kind of a glorified means of unlocking every character. So I’m not exactly rushing into the story mode when everything else is already so much fun. So no opinions on World of Light for now.
Much to my pleasant surprise, it was actually really easy to play against my friends online! I know, that seems shocking considering this is a Nintendo game that isn’t Mario Kart, but playing against friends is actually accessible. That alone gets huge brownie points from me. I also haven’t experienced any lag issues when playing against opponents on a broader online scale, so that’s also an improvement from its predecessors. I have heard some people say the specific searches for quick online matches aren’t very accurate (one-on-one proponents experiencing repeated multi-man matches and such), but I haven’t tried that myself yet so I can’t comment. But the sheer easiness of playing against friends alone feels like a godsend, given all the hoops you usually have to jump through for such features in Nintendo games (I’m looking your way, Splatoon 2).
Then, of course, we have the characters. The title’s main selling point is that every past fighter from Super Smash Bros’ history is present. And with a small batch of newcomers, as well as ‘echo fighters’ we have about 70 characters (depending on how you count Pokemon Trainer). That’s a pretty hefty lineup of characters. And while the roster isn’t perfect (Geno isn’t in it), there really is such a wide variety of characters that, no matter what your play style is, you’re bound to find multiple characters you like. I personally have quickly become a King K. Rool man (hey, if Super Mario RPG isn’t represented, I’m going with my other favorite SNES title, DKC2).
All in all, I find myself having trouble putting Super Smash Bros. Ultimate down. In a weird way, it doesn’t feel quite as “massive” as the past few entries in terms of what it adds compared to what came before, but it does feel better. It takes the best bits and pieces of past Super Smash Bros. games and makes something that feels like one of those ‘special’ Nintendo releases on par with Breath of the Wild or Super Mario Odyssey.