Tag Archives: Nintendo

Super Mario Galaxy Turns 10!

Super Mario Galaxy was released on the Nintendo Wii on November 12, 2007, meaning that today is the tenth anniversary of its (western) release. Wow… I feel old.

Anyway, the ten-year milestone is always a big one, but I feel this is an exceptional cause for celebration in the video game world for a couple of reasons.

The first such reason is that Super Mario Galaxy can be seen as a resurgence of the Super Mario series, which is still going strong these ten years later. Sure, the Mario series never got into any real slump (he’s not Sonic, after all), but aside from the two Paper Mario titles on the N64 and GameCube, it felt like the series had been missing that little something extra after Super Mario 64. But then Galaxy came along and brought the series back to its strongest. Here was a game that could ranked alongside any of Nintendo’s best. And because of it, we later got the holy-crap-it’s-somehow-even-better Super Mario Galaxy 2 a few years later. Sure, Super Mario 3D Land was a bit of a regression, but Super Mario 3D World, while no Galaxy, delivered another Mario great shortly thereafter, largely because of the impact Galaxy made to the series, and its influence on Nintendo’s designers.

“Super Mario Galaxy also introduced us to best girl, Rosalina.”

This influence stretched past Nintendo’s doors, however, as many other developers sang the praises of Super Mario Galaxy. It also seemed to shift the industry as a whole in a more positive direction. After the early 2000s seemed to transform gaming into “edgelord” mode, where everything was dark and gritty, and vengeance seemed to be the go-to motive for the armies of “anti-heroes” of the time; Super Mario Galaxy’s high praise and strong sales seemed to lighten things up a bit, and reminded people that a colorful, cheerful game doesn’t equate to a bad one. Thankfully, we see a much wider variety of tones and styles in games today then we did in the 2000s, and although that’s not all on Galaxy’s shoulders, it probably is the centerpiece of this shift thanks to its acclaim and influence.

“Galaxy reintroduced Mario World’s constant sense of invention to the series. There was never a dull moment in Galaxy.”

Now perhaps this is just me talking, but I feel like Super Mario Galaxy revived the “perfect 10” in video games. That’s entirely subjective, of course, but I think if you look at most publications’ records of perfect scores, they seemed to pick up in numbers with the release of Super Mario Galaxy. I don’t think critics are any easier in giving perfect scores, I just think games have gotten better, and are at a height they haven’t been in since the 16-bit days. Again, it’s not that Galaxy magically made perfect 10s possible, but it can be seen as the beginning of this high level of quality.

Even on a more personal level, there were plenty of games I enjoyed greatly during the early 2000s, but at the same time, there aren’t a whole lot I’m quick to point out as some of the best games I’ve ever played if asked today. That’s certainly not a knock on those games (again, many of them were great), but as stated, I think Galaxy resurrected that timeless quality in games that hadn’t been seen since the Super Nintendo era.

I mean, when the worst thing I can say about Galaxy is that Galaxy 2 and Super Mario Odyssey are even better, that kind of speaks volumes about it.

Happy tenth anniversary Super Mario Galaxy! An all-time classic, without question.

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Super Mario Odyssey Review

Reach for the moon…

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.

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Super Mario Odyssey Review

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.

“Even more esoteric Mario characters, such as Pauline from the original Donkey Kong, show up during the adventure.”

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.

“Mario can even become a tank, turning things into all-out warfare.”

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.

“Power Moons come in different colors depending on the 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.

 

10

Praising a Nintendo Game Doesn’t Equate to Bias

“Picture from Nintendo’s “Mario UK” Twitter account.”

Gamers have a tendency to be immature. I don’t know why it’s so often the case, but the gaming community tends to be a wee bit more toxic than most. Sure, there are plenty of mature, reasonable individuals in the gaming community, but it’s also littered with people who seem to get offended by the idea that someone owns a console they don’t have (with their reasons for not having it largely being because it isn’t made by the the brand they’re loyal to). And such toxicity is often at its most prominent when it comes to Nintendo’s detractors.

Now, don’t get me wrong, this same toxicity can often be found from within Nintendo’s fanbase as well – I seem to recall many Nintendo fans crying foul when Super Mario Galaxy overtook Ocarina of Time’s place as the best reviewed game on GameRankings (because how dare something newer be good?), and many of them seem to get bent out of shape whenever a Zelda game scores anything less than a 10 from critics – but it really seems like Nintendo, more than any other publisher/developer, is in a “damned if they do, damned if they don’t” situation when it comes to the gaming community.

I know some would discredit my comments, claiming me to be little more than a Nintendo fanboy, because I’ve given a decent number of Nintendo games good reviews. But that’s pretty much my point. It seems like anyone who gives a Nintendo game praise is often written off as a fanboy or someone who’s “blinded by nostalgia.”

Alright, I understand that Nintendo has had their hat in the ring longer than Sony or Microsoft, and they have the longest-standing franchises in the business, so if any party in this equation is going to get unfair flak in these categories, Nintendo has the biggest bullseye on their head for these trolls. But just because something is older doesn’t mean that it’s supporters are just blinded by their nostalgia.

Super Mario Odyssey, Nintendo’s newest major release, has achieved universal critical acclaim (it has currently displaced Galaxy as the best reviewed game on GameRankings as of this writing) which, naturally, has brought the usual trolls out of the woodworks.

It’s almost humorous, really, how quickly these people resort to the same old song and dance. “Reviewers are all just biased for Mario,” and things of that nature will be uttered a lot. Because obviously every last critic who praises a Mario game is clearly just biased. Seriously, this is conspiracy theory levels of nonsense. Did it ever dawn on these people that maybe, just maybe, Mario games tend to be really good, and people tend to really like them?

Of course such a thought never would dawn on them, considering they’re so quick to assume that every last video game critic is under some kind of spell of bias. And these are the same people who, whenever a Nintendo game gets a less-than ideal review, will hail such instances as “honest” reviews, again implying that any praise a Nintendo title gets isn’t honest, and is instead just some meaningless gushing that exists purely out of a blind brand loyalty (which is, ironically, the thing that’s likely fueling their assumptions against critics in the first place).

Assassins Creed Origins and Wolfenstein 2: The New Colossus were released the same day as Odyssey, and received great reviews of their own, many of which were by the same people who reviewed Odyssey. But apparently the concept of all these games being good is just too much for some people to process, and because one of those games happens to be part of a Nintendo franchise, it’s singled out as being part of some kind of game critic conspiracy.

By this point, it’s pretty much become a bad joke, really. A Nintendo game gets rave reviews, and it’s all just little more than “Mario bias” and “nostalgia.” I think it’s safe to say that most people who make such claims have never actually owned a Nintendo console, just as the Nintendo fans who dismiss Sony and Microsoft have probably never owned one of those consoles at any point. Of course, not everyone can have every video game platform, and maybe some people just prefer to follow a particular brand, and that’s all cool and fine. But why do gamers have this weird tendency to take offense at the idea that other people like other things? Does a Mario game getting good reviews somehow take away from the games they like? Seriously, what’s the deal there?

Again, Nintendo is far from the only victim of this epidemic, but it does seem to be the most prominent one. What, are all Nintendo game supposed to get bad reviews or something? I mean, geez, it’s not like every Nintendo game gets Odyssey’s reviews. Nintendo makes good games, and they make some bad games, and the critics respond accordingly. There’s no “bias” or “nostalgia blindness” about it.

But I’ve liked Nintendo games in the past. So I guess I’m just a fanboy.

Super Mario Odyssey Impressions

*This post originally appeared at Miketendo64.com*

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.

“Although the bosses are a bit on the easy side, they are consistently inventive and fun.”

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.

Super Mario Sunshine Review

*This review originally appeared at Miketendo64.com*

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.

“Drink up.”

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.

“Sunshine reeeally likes falling back on the red coin missions.”

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.

“Maybe Yoshi shouldn’t drink so much Hi-C…”

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.

 

8.5

Star Fox 2 Review

*This review originally appeared at Miketendo64.com*

Here’s something many Nintendo fans thought would never happen, Star Fox 2 has actually been released! This sequel to the original 1993 Star Fox on the SNES was famous for being completed, but never officially released. The N64 was on the horizon, and Nintendo didn’t see the need to release Star Fox 2 when Star Fox 64 would soon become a reality. But here we are, in 2017, and the release of the SNES Classic Edition comes bundled with the previously unreleased Star Fox 2. But after over 20 years of wondering, just how well does Star Fox 2 live up to the hype?

From the outset, Star Fox 2 looks very much like its predecessors: It features the same (admittedly aged) 3D visuals, and the levels featured are still on-rails shooters. But Star Fox 2 makes some notable changes to the formula.

You’ll notice an immediate difference in that, instead of players taking control of Fox McCloud and being accompanied by his three most loyal teammates (Peppy Hare, Slippy Toad and Falco Lombardi), the player gets to select a primary pilot and a wingman. Along with the four core characters, players can also select new characters Fay the dog and Miyu the lynx. Should your primary pilot be shot down, you’ll take control of your wingman.

Perhaps the game’s biggest departure from the original is its setup itself. While the original Star Fox (and subsequent Star Fox titles) used linear, branching pathways to get from level to level, Star Fox 2 instead goes with a more free-roaming world map, which feels akin to a board game.

The player’s ships can travel around the Lylat System as they please, with certain planets containing enemy bases, and enemy carrier ships floating in space. When the player reaches a planet or carrier, they enter one of the traditional Star Fox levels, where objectives usually involve destroying the base or ship by making your way to their core. Additionally, the carriers will send out ships on the world map, and the bases will launch missiles. If you come into contact with these ships or missiles while traversing the map, you will enter a small stage where you must destroy those objects.

It’s important that you take the time to do so, because these ships and missiles can make their way to the planet Corneria, dealing damage with every impact. Should Corneria reach %100 damage, the game is over. You may even find yourself having to exit a stage to ensure Corneria doesn’t take any extra damage. It may not seem like that big of a change, but it actually makes the progression feel more unique and enjoyable than the original game.

Not everything is an improvement over the first Star Fox title, however, as many of its predecessor’s shortcomings are still present in Star Fox 2. Namely, the controls during the first-person segments feel more than a little clunky, especially the act of maneuvering your ship and aiming with the D-pad at the same time.

Even when your ship is flying in a third-person view, the controls are less than ideal, though they are better than the first-person segments. A new feature in Star Fox 2 is the ability to transform the Arwing into “Walker mode,” in which your ship turns into something of a small mech. This gives the player more control over the vehicle (for obvious reasons, the Walker doesn’t automatically move like the Arwing), and is an overall nice change of pace from the on-rails gameplay.

Star Fox 2 is a marginal improvement over the original Star Fox, thanks to its more unique, board game-like setup, which allows for some more varied levels and progression; and the Walker is small but nice addition to the core gameplay. Unfortunately, the control issues are still present, and the rough, early 3D visuals can make things even more difficult. Not to mention Star Fox 2 may be even shorter than the first game (though this is a title more about getting a better score with each playthrough than it is about a grand adventure). It’s not quite the long-lost gem we’d all hoped it to be, but it is some good old fashioned Star Fox fun.

 

6.5