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Mole Mania Review

Shigeru Miyamoto is the world’s most prolific video game designer. It’s not hard to see why, since he has served as creator and/or producer of many of the world’s most popular games: Super Mario, The Legend of Zelda, Donkey Kong, Star Fox, Mole Mania…

Wait, what was that last one?

Yes, even Shigeru Miyamoto has made a few games that have gone under the radar, perhaps none more so than Mole Mania. That’s a crying shame, because this 1997 puzzler remains one of the Game Boy’s best titles.

In many ways, Mole Mania works like a simplified Legend of Zelda. If you were to remove Zelda’s overworld, and just stick with the dungeons, doubling down on their puzzle elements, you have a pretty good idea at what Mole Mania is.

Player’s take control of Muddy Mole, who is out to rescue his family after they’ve been kidnapped by a wicked farmer named Jimbe, who’s angry at the moles for eating his cabbages. Each of Muddy’s seven children are being held hostage by Jinbe’s henchmen (the game’s bosses), while Jimbe himself is holding Muddy’s wife.

The game is spread out between eight worlds, though after the first world is completed, levels 2 through 7 can be completed in any order the player chooses (they can even leave a stage for a while and work on another, if they get too stumped). This allows players to go through most of the game at their own pace, which seemed like an idea ahead of Mole Mania’s time.

Each level is comprised of multiple rooms which, like Zelda’s dungeons, need to have their puzzles solved in order to move on. The goal is to get an iron ball to break the wall blocking the exit of each room. Muddy can push and pull the giant marble, as well as throw it forward and back. This may sound simple enough, but Mole Mania finds various ways to turn this simple setup into a complex series of puzzles.

The biggest twist is that Muddy Mole has to navigate each room both above and under ground. Muddy can dig his own holes in the ground, and most rooms also contain holes of their own. Things get tricky though, because if the marble falls into a hole, it goes back to its starting position. You can’t fill in holes, but exiting a room and going back restores it to its default state. Additionally, 20 cabbages can be found on each stage, which must be thrown (or pushed, or pulled) into a hole to be collected, adding a little extra challenge for completionists.

The ways in which Mole Mania continues to change up its simple setup throughout the game is as impressive as it is fun, seemingly never running out of ideas with its concept. There are pipes that the iron marble can travel through to change paths, enemies that may stop the ball in its tracks. blocks that Muddy can push but are too heavy to pull. Mole Mania is always changing up its formula, making for a consistently fun experience.

This creativity even extends to the boss fights, albeit not to the same degree. The boss fights are all pretty simple, but find creative twists on the gameplay as Muddy finds new ways to smack them with the iron marble, or use the environment to their disadvantage.

There are a few technical issues with the game, due to the limitations of the Game Boy. Namely, having to hold the same button to throw a marble as you do to pull it can get a bit cumbersome in later stages (if you hold still for even a second when gripping the marble, Muddy prepares to throw it). You may find yourself doing one action when trying to do the other, since both of the actions are mapped to the same button.

Some players may also find the fluctuating difficulty somewhat off-putting. Although the first few stages do a good job at becoming progressively more difficult, some of the later stages seem to crank the challenge up and down on a whim, with some of them going from a notably easy room directly into an exceptionally hard one.

These aren’t major complaints, mind you. On the whole, Mole Mania remains a delightful game, one whose puzzles can be genuinely head-scratching at times. And on top of the engaging gameplay, Mole Mania features fun musical tracks that – as is expected of a Nintendo score – end up being wildly infectious. Although Mole Mania never received a Game Boy Color update like many other Game Boy titles, the sprites are detailed enough that it still holds up decently well from a visual standpoint.

Who knows why Mole Mania didn’t join the pantheon of beloved Miyamoto franchises. Maybe it had to do with the timing of its release (after the Game Boy’s initial boom but before Pokemon gave the handheld a second life)? Maybe gamers weren’t enamored with the simple prospect of a Mole fighting a farmer when compared to Miyamoto’s usual fantasy fare? Whatever the case, Mole Mania deserved better. It boasts the same ‘pure gaming’ pleasures as Miyamoto’s more well-known titles, and had all the makings of another Nintendo mainstay. Even if it didn’t become a long-standing Nintendo franchise, Mole Mania remains an enduring cult classic, and one of the few titles to come out of the original Game Boy that holds up incredibly well today.

Now, how about Muddy Mole for Super Smash Bros?

 

8.0

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Super Mario RPG: Legend of the Seven Stars Review

*Review based on Super Mario RPG: Legend of the Seven Stars release as part of the SNES Classic*

Since its inception in 1985, the Super Mario series has proven to be the avant garde of video games, prioritizing gameplay innovation and concepts unique to the video game medium over all else. This design philosophy has not only allowed the core platformers of the Super Mario series to consistently reinvent themselves, but has also turned its titular plumber into gaming’s renaissance man, able to adapt to seemingly any genre Nintendo decides to cast him in. Of the various “spinoff” Mario titles, Mario Kart gets the most widespread recognition, as it created the ‘kart racer’ sub-genre while simultaneously producing a series that rivals the core Mario titles in popularity. But while Mario Kart might be the most famous of Mario’s detours, the most outstanding might just be the 1996 SNES classic, Super Mario RPG: Legend of the Seven Stars, the title that sent Mario into most unfamiliar territory.

Super Mario RPG was a bold venture. A joint effort between series’ publisher Nintendo and Final Fantasy developer Square-Enix (then Squaresoft), Super Mario RPG took the characters and world of Nintendo’s flagship franchise, and merged it with the RPG genre that Square was renowned for. Though a fan-favorite today, at the time many wondered if converting the Mario series into the narrative-heavy RPG genre could work. The fact that Super Mario RPG remains one of the most beloved Mario games should be a testament to just how successful the finished product was. Its hefty reputation is well deserved.

While Super Mario RPG is a joining together of the series and genre of its title, what makes it work so well is how it both pays homage and parody to both parties involved, and turns them on their heads.

“Where can I sign up to join the Koopa Troop?!”

The story here is that – just as Mario is about to defeat Bowser for another daring rescue of Princess Peach (here called Toadstool, as she was known in the west at the time) – a massive earthquake hits the scene, throwing Mario, Bowser and the Princess to different corners of the Mushroom Kingdom. The source of this quake is a giant, anthropomorphic sword that has fallen from the heavens and plunged into Bowser’s castle. The sword is called Exor, and declares Bowser’s Keep to be occupied by its master, Smithy, who plans to conquer the rest of Mario’s world.

As it turns out, Smithy is already closer to world conquest than he knows, as Exor slashed through the Star Road on its descent onto Mario’s world, shattering it into seven magical Star Pieces. The Star Road is what allows people’s wishes to come true. With its power scattered into seven fallen pieces, the wishes of the denizens of Mario’s world can no longer come true. It then becomes a race between Mario and his companions to prevent the Smithy Gang from claiming the seven Stars, which would result in the evil Smithy’s dark desires coming to fruition.

What makes this story memorable is that it both adds a serious narrative to the Super Mario series (for the first time), while still maintaining the franchise’s whimsical lightheartedness. The premise feels like it could have been pulled out of a Disney movie, and the game takes advantage of the nature of the Mario series to add a good dose of humor into the serious RPG plot.

“Bowser reveals his artistic and sensitive side.”

Mario is joined on his adventure by four companions: The aforementioned Princess Toadstool is the obvious ally, but for the first time in the series, Bowser fights alongside Mario in a quest to reclaim his castle. The remaining two members of Mario’s party were original to Super Mario RPG; Mallow, the fluffy, cloud-like black mage of the group, and Geno, an otherworldly spirit occupying an action figure for its body. It’s a memorable cast of characters.

Mario is his usual, silent self; but the Princess becomes something of the ‘tough guy’ of the group after growing tired of being rescued, while Bowser steals the show as the insecure brute with a heart of gold. Meanwhile, Mallow is the kid of the group wanting to prove himself, while Geno has connections to the Star Road and is something of the Gandalf of the team (the wise, old badass). Mallow and Geno left such an impression that, although they have yet to properly appear in another game, fans still long for their return.

No matter how iconic or likable these characters are though, it wouldn’t mean much if the game they starred in weren’t great. Luckily for them, Super Mario RPG was one of the best games of the genre’s golden era, and remains one of Mario’s timeless classics.

The battle system here at first looks like the usual turn-based affair, but with some fresh changes, such as each action in battle being mapped to specific buttons (A for regular attacks, B for defense, Y for special moves, and X for items). The biggest addition Super Mario RPG makes to RPG battles is one that’s subtle, yet game-changing: Action Commands.

During battles, players have more involvement than in other RPGs of the time. During attacks, well-timed button presses can increase damage (and timing them just right during enemy attacks can reduce damage), while special moves have their own interactive elements (repeated button-presses or timing, holding a button and releasing it, etc.). It’s such a seemingly simple twist on RPG norms, but it adds so much more fun to the proceedings than simply selecting items from menus.

There are some small quibbles in that there’s a lack of on-screen directions to inform you of when to use button-presses during many actions (directions are briefly explained before certain special attacks, but others are trickier to figure out). Still, most of the Action Commands aren’t too hard to get the hang of, so nothing’s too cryptic. But if you do manage to master them, you may find that the overall adventure is a bit on the easy side, though I suppose turn-based RPGs aren’t known for brutal difficulty anyway. Still, these hardly qualify as complaints, as they never get in the way of the enjoyment of the gameplay, story, or overall fun.

Meanwhile, wandering through the overworlds is also improved over other games in the genre, with just a dash of platforming added into the mix for – you guessed it – more interactivity than you’d find in other RPGs. The game is given all the more personality when you talk to NPCs, who often put that aforementioned humor on full display. In case that weren’t enough, Super Mario RPG features a myriad of entertaining mini-games and side quests, some of which are exceptionally well hidden.

Being released at the tail-end of the Super Nintendo’s life cycle, Super Mario RPG pushed the console’s capabilities to their limits. Super Mario RPG features highly detailed environments and an isometric perspective to give the game something of a 3D quality, with character graphics that are comparable to the Donkey Kong Country sequels (one enemy monster even resembles good ol’ DK, perhaps to emphasize this).

However, the best aesthetic qualities of Super Mario RPG are in its sounds. Composed by Yoko Shinomura – famous for her soundtracks of Street Fighter II and the Kingdom Hearts series – Super Mario RPG’s score is her masterwork, encompassing a wide range of styles and emotions,  and captures that distinct Mario personality while also creating an identity unique to itself. The SNES is widely regarded for the stellar soundtracks of its games, and Super Mario RPG is second only to Donkey Kong Country 2: Diddy’s Kong Quest for the title of best musical score on the platform. It’s an all-time great gaming soundtrack.

“How can you not love a game in which Bowser can fight a giant, evil wedding cake?”

Sadly, while Super Mario RPG: Legend of the Seven Stars remains one of Mario’s most memorable adventures, it seems to be the only entry in the entire franchise that was to be a one-and-done deal. It may have influenced spiritual successors in the Paper Mario and Mario & Luigi series of RPGs – which improved on a few individual elements (Paper Mario introduced on-screen button cues during attacks) – but none of them have captured the same magic of the whole experience that Super Mario RPG did, nor have they left the same kind of unique impact on the overall Mario series.

If anything, Super Mario RPG’s isolation from the rest of the Mario series has only helped it endure as one of the most beloved entries in the franchise’s peerless history (it’s even helped inspire games such as Undertale). Here’s hoping that, someday, we might see Super Mario RPG’s legacy continue in some form. For now, however, Super Mario RPG: Legend of the Seven Stars can at least still claim to be among Mario’s greatest adventures, and one of the best RPGs of all time. A legend indeed.

 

10

Early Thoughts (and Concerns) on Super Smash Bros. Ultimate

The Switch’s iteration of Super Smash Bros. has been revealed as Super Smash Bros. Ultimate! So far, from what I’ve seen and the little I’ve played, it seems like a refinement of the franchise. It’s faster paced like Melee, but looks to incorporate the sense of balance from the Wii U version. Despite Nintendo’s overall lackluster E3 Direct, Super Smash Bros. Ultimate looks to please its loyal fanbase, and then some.

However, even though Ultimate looks like it could be the definitive Super Smash Bros. game, I do have a few reservations about it. Primarily, it may seem awesome on one hand that the game will feature every character who has ever been in Super Smash Bros. history – from the N64 originals to the one-timers from Melee and Brawl to the DLC characters from Smash Bros. on Wii U – on the other hand, series director Masahiro Sakurai said they planned to emphasize the inclusion of every past character, so to “not expect too many new additions.”

But is that really what anyone wanted? Sure, Ice Climbers and Solid Snake had plenty of support to make a return, but did anyone really want characters like Pichu and Wolf O’Donell to make a comeback? Don’t we have enough clones as it is?

Speaking of clones, that brings us to another source of concern: Sakurai has given clone characters the official name of “Echo Fighters.” The problem with this is that the fact that clones nw have an official label could imply that Ultimate is doubling down on clone characters.

I know, a lot of people like to claim that “clone characters don’t take up much data, and so they aren’t getting in the way of anyone else.” Maybe, but if you ask me, I’d rather see a smaller roster with unique characters than a large roster filled with half-assed, copied-and-pasted clones.

The reason why I’m concerned about this (other than the fact that the clone characters are already just lazy additions) is that, with the Inklings from Splatoon and Metroid’s Ridley being the only completely new characters announced for the new game, along with the grim promise that there won’t be too many new additions, this could mean that most of the potential new characters could just be clones. And who the hell wants that?

Things get worse, however, with the revelation of the first new “Echo Fighter” in Super Smash Bros. Ultimate is none other than (oh lord, give me strength)… Princess Daisy.

Ouch! It hurts just to type that.

Look, I understand that Ridley was one of the most requested characters for years, and Splatoon is Nintendo’s biggest new franchise, but Daisy? I don’t know, seems like we’re scraping the bottom of the barrel here. And yeah yeah, once again “clones don’t use up a lot of data,” but when they start stacking up clone after clone, the roster just feels watered down.

Now, part of me isn’t too disheartened with the idea of only a handful of new characters (I remember when Melee first showed off Bowser, Peach, Zelda and Ice Climbers as new additions, and I didn’t mind it when I thought they were the only new additions to Melee). But, if we do see only a handful of new characters, and most of them are just going to be clones, it would feel like a waste. And don’t even get me started on Bomberman being relegated to an Assist Trophy while Princess Daisy makes the roster. That’s just insulting.

I hope I don’t sound overly negative, because I love Super Smash Bros., and from what I played of Ultimate at E3, it looks to be excellent. But while it looks like Super Smash Bros. Ultimate may refine the series’ mechanics and competitive nature, it runs the risk of diluting the experience with an overtrumped roster largely comprised of characters who lack uniqueness. I mean, this is a series built on Nintendo’s illustrious history and peerless catalogue of video game icons. I’d hate to see it simply decide to settle on the quick and easy alternatives in place of meaningful additions.

Sakurai is known for asking his fans to “just be happy.” But if we’re getting a bunch of throwbacks and cookie cutter additions at the expense of worthwhile newcomers, it makes it kind of difficult.

“The physical incarnation of “we’re all out of ideas.””

But seriously, just give me Geno and Dixie Kong and I’ll take it all back and love it 100% LOL.

Donkey Kong Country: Tropical Freeze (Switch) Review

*This review originally appeared at Miketendo64.com*

When Retro Studios revealed Donkey Kong Country: Tropical Freeze at E3 2013, it was received with a lukewarm reception. People were baffingly disappointed that the studio opted to create a second DKC title (apparently forgetting how good Donkey Kong Country Returns was), and were clamoring for the developer to return to the then-dormant Metroid franchise (apparently forgetting Retro already made three titles in that series). This immediately lead to unfair criticisms towards Tropical Freeze and, coupled with questionable marketing, a delayed launch, and the overall underperformance of the Wii U, Tropical Freeze failed to receive the mass-appreciation it truly deserved. It quickly became a cult classic for many, due to its pitch-perfect gameplay, impeccable level design, and God-tier soundtrack, but it never became the best-seller it should have been. Now, Tropical Freeze has been given a second chance on the Nintendo Switch, in hopes that it can finally find the audience it so rightfully deserves.

Although the core game is mostly unchanged from its release on the Wii U four years ago (save for some touch-ups with the graphics, and some new character animations), DKC: Tropical Freeze is more than worth another go on the Switch, as it remains one of the finest platformers ever made.

Being a follow-up to Donkey Kong Country Returns, Tropical Freeze adopts the basic blueprint of its predecessor. But while Returns was an excellent game in its own right, it often relied on falling back onto nostalgic memories of the original 1994 Donkey Kong Country on SNES. Tropical Freeze – being Retro’s second go at the series – was able to break free from the familiarity of Returns and craft an identity of its own for the series.

The story here is that a gang of vikings called the Snowmads (comprised of arctic animals like walruses and penguins) have invaded Donkey Kong Island. Doing their best Elsa impression, the Snowmads freeze the entire island and make themselves at home, banishing the Kongs in the process. But DK is not one to simply let it go, and he, along with Diddy, Dixie and good ol’ Cranky, set off on an adventure across multiple islands to take back their home from the Snowmads.

“Despite being a side-scroller, Tropical Freeze features dynamic camera angles during certain stages to change up the gameplay in unique ways.”

Of course, any semblance of plot is really just an excuse to get DK off his keister and into those platforming stages. It’s within its gameplay and level design that Donkey Kong Country: Tropical Freeze becomes a work of art.

The level design of Tropical Freeze is among the best you’ll ever find in a platformer (or any genre, for that matter). Every stage introduces new mechanics and gameplay elements, making every last level feel fresh and original. Tropical Freeze almost epitomizes a “you know what would be awesome” mentality…as in, it’s all too easy to imagine the folks at Retro Studios exclaiming “you know what would be awesome?” right before they pitched their ideas.

There are a few shared elements between stages, namely the collectible puzzle pieces and K-O-N-G letters that are hidden within them (the puzzle pieces unlocking extras such as concept art and music, while nabbing every K-O-N-G letter in every stage of a world unlocks that world’s secret temple stage). But there’s not a level in the entire game that falls back on recycling a level concept brought up earlier in the adventure. The level design of Tropical Freeze is an utter delight the whole way through.

“That is one big-ass polar bear.”

This is also true of the game’s boss fights. Though the old tradition of one boss per world means that such encounters are limited at six, each one of them provides a clever challenge that’s full of creativity.

Player’s primarily control Donkey Kong, of course. He still runs, jumps, rolls, pounds the ground, and throws barrels. This time around, he can also pluck certain objects from the ground, as well as pick up certain enemies to throw them at others. Along the way, DK can team up with the other Kongs who, in addition to granting the player two extra hit points, come with their own special abilities.

Diddy Kong, returning from DKCR, comes equipped with a jetpack, allowing DK to hover for a short time. Meanwhile, Cranky Kong makes his long-awaited debut as a playable character, and can use his cane as a pogo stick – Scrooge McDuck style – to not only jump higher, but also to allow DK to jump across surfaces and enemies he otherwise couldn’t (such as thorny brambles or enemies with spiked viking helmets). Dixie Kong, true to form, proves to be the most useful, however. With her helicopter-like hair, Dixie Kong not only gives DK a bit more air, but also increases the height of his jumps. When playing solo, the additional Kongs more or less serve as power-ups, but they are also readily available for a second player to select in the game’s co-op mode.

On the visual front, Tropical Freeze looks better than ever, which is no small feat, considering how great it already looked on the Wii U. The graphics may technically be the same, but it all looks sleeker and smoother than it did before. And perhaps best of all, the load times have been drastically reduced in this Switch release.

Then we have that epic soundtrack. The first two installments of Donkey Kong Country remain highly regarded for their music, though the third entry’s score, while still good, fell considerably short of its predecessors. Meanwhile, Returns’ soundtrack mainly relied on remixes of the first DKC’s soundtrack, which is great and all, but didn’t exactly help in giving the game an identity of its own.

With Tropical Freeze, however, Retro Studios managed to cook up a musical score that ascends to one of the all-time greats in the medium, and more than lives up to the first two installments. It should come as no surprise that the key ingredient to the soundtrack’s roaring success is the return of original series composer David Wise, who made a triumphant return with Tropical Freeze after an extended hiatus from scoring mainstream titles. Much like the first two SNES DKC titles, the score of Tropical Freeze manages to encompass a shocking amount of variety, all while building the atmosphere of the game’s world, and turning the simple story of a bunch of apes fighting walruses into something truly epic and beautiful. As far as gaming soundtracks go, Undertale might be Tropical Freeze’s only real competition for the title of best of the decade.

While Tropical Freeze served as a vast improvement over (the admittedly great) Donkey Kong Country Returns in nearly every regard – from level design to boss fights to music – there were, unfortunately, two aspects in which Tropical Freeze merely followed suit with its predecessor, as opposed to improving it.

The first are the bonus rooms scattered throughout the levels. While these bonus stages are fun in their own right, they are all simple variants of “collect all the bananas.” It’s not a major issue, but considering the variety of bonus stages housed in the DKC games back on the SNES, you kind of wish Retro Studios could have touched up on the repetition of the bonus rooms found in Returns with their second outing. The other blemish is that Rambi the Rhinoceros is once again the only Animal Buddy present in the adventure (unless we count Squawks, who can be purchased at Funky Kong’s shop and alerts players to nearby puzzle pieces). While riding on Rambi and bowling through enemies is fun, he only shows up on a handful of occasions, leaving you wanting more out of him, as well as a return of more Animal Buddies such as Enguarde or my man Squitter (or for Retro Studios to develop some Animal Buddies of their own).

“I wonder if Funky is out looking for inter-planetary visitor dudes. Wow, I just made THAT reference.”

It also has to be said that the only major addition to the Switch release of Tropical Freeze is its new “Funky Mode,” which serves as a beginner-friendly playstyle for those who find the core game too difficult. Essentially, it’s easy mode, with Funky boasting all of the abilities of the other Kongs, as well as having more hit points and unlimited oxygen when swimming. On one hand, I can appreciate the game having an easy mode. Given its often intense difficulty, providing an easier option for beginners might give Tropical Freeze a wider audience. But on the downside, it is kind of a shame that the new playable character has to be confined to it. Having Funky as a unique character with his own abilities in the core game might have been a nice twist on this modern classic, while the easy mode could have potentially given DK the extra benefits and such, thus separating it and the new character.

Donkey Kong Country: Tropical Freeze was not only my favorite game of 2014, but also one I can confidently say was my favorite in the entire Wii U library. It’s a platformer that easily ranks among the best of them, with sheer creativity and gameplay brilliance pouring out of every level. The fact that it was initially met to such a lukewarm reception was a damn shame, and played a part in Tropical Freeze becoming quite possibly the most underrated game in Nintendo’s history.

Now, Donkey Kong Country: Tropical Freeze can safely claim to be one of the very best games on the Nintendo Switch. Sure, the lack of variety in bonus stages and Animal Buddies is still a bit of a bummer, and the fact that Funky Mode is the only prominent addition to this second release can feel a little like a missed opportunity. But make no mistake about it, Donkey Kong Country: Tropical Freeze should rank among the best games Nintendo has ever made. And hopefully this time, more people will get to realize that.

 

9.5

Wario Land: Super Mario Land 3 Review

With his introduction as the antagonist of Super Mario Land 2, Wario became an immediate Nintendo mainstay. Who knows if it was the original intent when the character was created, but Wario ended up hijacking the Super Mario Land series, being the star of its third entry in 1994 before it full-on transformed into the Wario Land series. Though the Wario Land sequels would add a bit more originality to the proceedings, Wario Land: Super Mario Land 3 remains a fun and surprisingly deep platformer.

Wario Land played a bit closer to the Mario Land rulebook than its sequels would, with floating blocks containing items being scattered about, and Wario running, jumping and collecting power-ups to clear stages. But this isn’t merely Super Mario Land with a change of main character, as Wario has a few tricks of his own to justify his promotion to starring role.

The dastardly villain is – fittingly – a lot more brutish than Mario, coming equipped with a shoulder charge attack, and after jumping on enemies, he can pick them up and throw them at others. In place of Mario’s power-ups are three different helmets: The bull helmet makes Wario’s charge attack more powerful, in addition to giving him a butt stomping attack. The dragon helmet shoots a stream of fire from its nostrils. And the jet helmet grants Wario a higher jump, in addition to allowing him to use his charge attack in midair and under water.

On top of differing his core gameplay from Mario’s, Wario’s level design makes some notable changes as well. Wario isn’t out to save the day, but to scour the land for all the loot he can find (in another fun twist from the norm, while Mario often ventures to rescue Princess Peach, Wario is simply trying to steal a giant, golden statue of her). This means that simply making it to the end of a stage isn’t your main goal. Taking a page from Super Mario World, some of the stages contain alternate, secret exits, which lead to more stages and, in one instance, an entire optional world. Additionally, there are fifteen secret treasures to be found in the game, which will result in Wario becoming substantially richer at the end of the game if collected.

These alternate exits, optional levels, and hidden treasures make Wario Land a much deeper game than the Super Mario Land duology, adding to the game’s length and replay value. There are a few unfortunate downsides to how these elements are implemented, however.

While the levels with secret exits are distinctly marked on the world map, the levels that contain the secret treasures are not. That may not seem like a huge problem, but a few of these treasures must be collected by replaying earlier levels after a later stage or world is completed. So you’re basically just left guessing what stages you need to revisit.

The levels containing secret exits also disappear from the game entirely about midway through, leaving the first half of the game to feel more inspired than the second. The boss fights also lack creativity, and the music is a surprising step down from the Super Mario Land titles (thankfully, the graphics are on par with those of Super Mario Land 2).

Even with these complaints, Wario Land is still entertaining even today, which is quite the feat for a Game Boy title. It’s fun just to find more coins and treasure, and seeing if you can hold onto them by a level’s end, a concept which the game has even more fun with. Complete a stage, and you can play a mini-game where you get three 50/50 chances of doubling your coins or reducing them by half. Meanwhile, checkpoints require a small fee (10 coins) to access, but the coins you got up to that point aren’t saved if you die, giving a nice twist on checkpoints where you have the choice of using their security or keep more gold at a greater risk.

Wario Land: Super Mario Land 3 may not be one of Nintendo’s finer platformers, but it did serve as a fitting introduction for Wario as a video game star. Though it is a bit strange that Wario got his own game after just two years, while the world is still grossly absent of a game starring Bowser after over three decades…

 

7.0

Super Mario Land 2: Six Golden Coins Review

Despite Mario and friends being the most recognizable characters in gaming, the franchise has very rarely received new mainstay additions to its character roster after Super Mario Bros. Super Mario World brought the biggest addition in the form of Yoshi, while Super Mario Sunshine introduced Bowser Jr., and Galaxy brought fan favorite Rosalina into the mix (we still have yet to see if the parade of oddities introduced in Odyssey will frequently reemerge). But in between Yoshi and Bowser Jr. the series received perhaps its strangest character in the form of Wario, who was introduced as the villain of Super Mario Land 2: Six Golden Coins.

When Super Mario Land became a massive success on the Game Boy, it only made sense that a sequel would follow up eventually. And in 1992 – the same year the Game Boy introduced the world to Kirby – Super Mario Land not only got a sequel, but Nintendo received another iconic character in its bizarre, anti-Mario villain, who has gone on to star in a number of his own series.

Along with the introduction of Wario, Super Mario Land 2 is notable for feeling more like a Mario game than its predecessor. The Fire Flower is back, Goombas return, Koopa shells no longer explode, and the game as a whole just feels more inspired. If Super Mario Land’s goal was simply to bring Mario to a handheld console, than Super Mario Land 2 sought to make a handheld entry that could live up to its home console brethren. And although Mario Land 2 may not have aged quite as well as those aforementioned home console Mario adventures of yesteryear, it’s still a good deal of fun while it lasts.

The story here is a rare instance of a Mario game actually tying into the plot of its predecessor. While Mario was busy rescuing Princess Daisy from Tatanga the spaceman in Super Mario Land, Wario took control of Mario’s castle (damn, I knew plumbers charged a lot, but a whole castle?). Wario has placed a magic spell on the castle, and Mario cannot enter unless he’s received the Six Golden Coins, which are in the hands of Wario’s minions. Mario must venture to six different lands to wrest the coins away from the bosses so that he might take back his castle from Wario. It’s an interesting change of pace from the usual princess kidnapping, though the idea of Mario having a castle still seems pretty weird (and apparently Nintendo thought so as well, as any and all other Mario games ignore this and depict Mario living in a more appropriately humble home).

The level design is solid and fun. It may not be up to the platforming perfection of Super Mario Bros. 3 or World, but for a Game Boy title it’s pretty impressive that it holds up as well as it does. There are two key ingredients that set Mario Land 2’s worlds apart from other entries in the series, however.

The first is that the themes of each world differ from the usual “grass, fire, ice, etc.” motifs usually found in platformers. Instead, the worlds here range from being based around toys, Halloween, outer space, a tree, a turtle, and – in a fun twist on Super Mario Bros. 3’s Giant Land – a world where Mario shrinks, with everyday creatures like ants and grasshoppers serving as enemies. The second, and bigger twist, is that these worlds can be completed in any order. Seemingly taking inspiration from Mega Man, Mario can traverse the game’s world map and enter any of these six worlds in any order the player chooses. This gives Super Mario Land 2 a unique sense of openness that the series strangely hasn’t revisited in subsequent 2D entries.

Along with the usual Super Mushroom and the aforementioned Fire Flower, a power-up exclusive to this game shows up in the form of the Super Carrot, which grants Mario rabbit ears that allow him to hover for a prolonged period of time.

“The graphics are just a wee bit better than the first game. And by that I mean they look way better.”

Overall, the gameplay is fun, if maybe unambitious compared to other Mario titles (the open-world map being Land 2’s best innovation to the series). It should also be noted that, with the exception of Wario’s Castle, the levels are all pretty easy, with the boss fights even more so. And the whole game can be completed in a little under two hours. Given the time the game was originally released – when the convenience of gaming on the go meant sacrificing some of the depth and quality of the experience – these aspects make sense. Super Mario Land 2: Six Golden Coins was an almost ideal handheld game back in the day. And when you consider the graphics and music are a marked improvement over those of its predecessor, it felt more like a proper Mario adventure.

The downside is that, though the game is still a lot of fun in its own right, handheld gaming has come so far since 1992 that the limitations of its placement as an early handheld classic stand out all the more. While it certainly holds up a lot better than the first Super Mario Land, it’s still hard to argue why you would play Six Golden Coins over one of Mario’s more iconic retro adventures (which are readily available on pretty much every Nintendo device these days).

Super Mario Land 2: Six Golden Coins is still fun, and serves as an interesting piece of Mario’s history, but it falls considerably short of the plumber’s finest.

Still, we got Wario out of it. I guess for that alone we should all be grateful.

 

6.5

Super Mario Land Review

It may seem a bit strange today, given that it seems to have left no long-lasting impact on the Super Mario series as a whole, but 1989’s Super Mario Land remains one of the best-selling titles in the entire series. In fact, up until the Wii re-popularized Nintendo games, Super Mario Land was the third best-selling Mario game, behind only Super Mario World and the original Super Mario Bros. Though the high sales become a bit more understandable when one remembers that this was not only Mario’s first handheld entry, but also a launch title for the Game Boy. Releasing a Mario game to launch the Game Boy was a no-brainer, and with the handheld’s seldom-approached success, it only makes sense that Super Mario Land would rack up sales numbers. And for the time, Super Mario Land was a nice introduction for the series into the handheld market, though time has revealed that Mario compromised a lot in the transition to the Game Boy’s launch.

Super Mario Land, at first glance, seems to have all the trappings of Mario titles of the time. Mario still runs and jumps across different kingdoms, collects power-ups, and rescues a princess from a villain. But it won’t take long into playing to realize that things are just a little…off.

While mushrooms still make Mario bigger (thus giving him an additional hit point), flowers grant Mario with a bouncing ball, as opposed to the more accurate fireballs of Mario norm. Perhaps more bizarrely, while stars still grant Mario temporary invincibility, the usual Mario invincibility theme (AKA the most hypnotic 18 notes in gaming history) is replaced with a rendition of the Can-Can. It turns out that the princess involved isn’t Peach (or Toadstool, as she was known in the west at the time), but Princess Daisy. And the baddie isn’t Bowser, but a much more generic spaceman villain called Tatanga.

Those are something of excusable changes, considering Super Mario Land was created by a different team than the rest of the Mario titles of the time (it was the first Mario game without direct involvement from series creator Shigeru Miyamoto). But there are other changes that are a little less forgivable.

“The scrolling-shooter segments are admittedly a cool change of pace that I wouldn’t mind see make a return.”

The most noticeable is Mario’s control, which feels far more slippery and chaotic than his NES and SNES adventures. It’s not outright bad to control, but considering Mario more or less wrote the book on making fluid platform jumping, anything less than the series’ standard really sticks out. Worse still, Super Mario Land plays some dirty tricks that work against the intuition this very series created! Notably, Koopa Troopa shells explode about a second after a Koopa has been defeated. Perhaps in a home console title, where there could be a visible distinction between your standard Koopa shell and an exploding one, this might not be so bad. But with the limitations of the Game Boy, it just looks like a Koopa Troopa. And with how the series has ingrained the idea of kicking Koopa Shells into our minds, it all just comes off as a cheap stunt.

Being a Game Boy launch title, suffice to say Super Mario Land isn’t a pretty game to look at (though at the very least, the ability to play it on a 3DS – with a backlight and whatnot – means that today you can experience the game in any lighting without having to strain your eyes). Thankfully, the music is actually pretty good. Certainly not among the best Mario soundtracks, but all things considered, it’s catchy and fun.

Of course, if there’s any great limitation to Super Mario Land, it’s that it is one short game. Okay, so it shouldn’t be assumed that a Game Boy launch title would be particularly long, but Super Mario Land can be beat in a half hour…if that. At the time, Super Mario Land had the benefit of being the Mario on the go. But now, with so many other options – whether one of the meatier, contemporary Mario handheld games, or a portable re-release of one of the console classics – you don’t exactly have a lot of incentive to play Super Mario Land in their stead.

Super Mario Land is not a bad game, but retrospective has exposed it as the weakest Mario platformer. For its time, Mario on the go was an accomplishment in its own right. But despite nothing being particularly bad about it, Super Mario Land doesn’t feature any elements that weren’t considerably bettered by Mario games before and since, leaving it feeling like Mario’s most mediocre moment to contemporary eyes.

Then again, the fact that Super Mario Land unleashed Princess Daisy onto the series may just constitute an unforgivable sin.

 

5.0