During Nintendo’s E3 Direct, it was revealed that Banjo-Kazooie will be joining the Super Smash Bros. roster sometime this Fall, complete with music by Grant Kirkhope and a Spiral Mountain stage.
Oh yeah, the Dragon Quest “Hero” was announced for a Summer release as well. But he’s not Banjo-Kazooie so he kind of got overshadowed.
This is… This is amazing! For years I (and so many others) have wanted, and hoped, and dreamed that this could be a possibility. Now our patience has paid off, and this dream has become a reality.
With the exception of Super Mario RPG’s Geno, I don’t think there’s another character left who has been so strongly requested for so long as Banjo-Kazooie. And now, after all this time, the bear and bird tandem finally join their rightful place among the Super Smash Bros. roster.
Now if we could just get Geno…
Here is the Banjo-Kazooie reveal trailer (admittedly, it is a little bit of a bummer it’s mostly a tweaked version of King K. Rool’s trailer, but I’m not about to let that dash any of my excitement).
Earlier this year, I picked up the 3DS remake of Mario & Luigi: Bowser’s Inside Story. But before I play through it, I remembered I (strangely) never beat the 2017 3DS remake of Superstar Saga. So I recently started a new file on that game (and have since beat it, and will review it once I play more of the remake’s exclusive “Minion Quest” mode). Not only did returning to Superstar Saga end up being an utter joy, but it also really, really made me miss what the Mario RPGs used to be.
It’s been ten years since the original release of Bowser’s Inside Story on the DS, and not counting the aforementioned 3DS remakes, that was the last time the Mario RPGs were truly great (I did enjoy Mario + Rabbids Kingdom Battle a great deal, but seeing as that was both a crossover and a strategy RPG, I guess it’s not quite what I’m talking about). And I really, really miss the days when the Mario RPGs were among the best things Nintendo had going for them.
Super Mario RPG: Legend of the Seven Stars remains my favorite RPG of all time, and arguably my favorite game period. It perfectly combined the accessibility and fun of Mario with the depth and turn-based gameplay of RPGs, without sacrificing the quality of either of its halves. Although it tragically never received a proper sequel, the Square developed title did receive two spiritual successors created by Nintendo’s own internal studios.
Paper Mario simplified the formula a bit, but still made for a hefty adventure that boasted a unique art style, and saw Mario team up with party members based on the series’ iconic enemies. Mario & Luigi: Superstar Saga was more focused on fast-paced action, and featured genuinely hilarious writing. Both of these Super Mario RPG spiritual successors would wind up becoming their own sub-series.
Paper Mario was followed-up by the critically-acclaimed Paper Mario: The Thousand-Year Door on the GameCube, while two Mario & Luigi sequels were released on the Nintendo DS: 2005’s Partners in Time, and 2009’s Bowser’s Inside Story. Of the lot, Partners in Time is the only one that fell short of the rest, though even it was still a good game in its own right (though I’m not complaining that the 3DS remakes went directly for the best M&L entries).
While it’s usually the Mario platformers and The Legend of Zelda that are held in the highest regard in Nintendo’s canon, the Mario RPGs were, more quietly, delivering experiences that were often just as good. And with their Nintendo mentality of “fun at all costs,” the Mario RPGs provided some of the most timeless games in the genre (Final Fantasy hasn’t aged so gracefully).
But then, in a creative move that truly defies all logic and reason, Nintendo decided to begin stripping away many of the elements that made the Mario RPGs so memorable. The third Paper Mario title, 2007’s Super Paper Mario, was still a fun game, but it removed the series’ turn-based structure in favor of a platformer that featured RPG elements. Not a bad idea in itself, and Super Paper Mario still retained an RPG-like story, but considering the main Mario series are platformers, did Nintendo really have to sacrifice Paper Mario to test out this idea?
Hey, at least Super Paper Mario was still a good game. And it was followed up by the aforementioned Bowser’s Inside Story. Little did we know that Bowser’s Inside Story would be a one-time return to form. A “last hoorah” if you will. Because after that we got the 3DS’s Paper Mario: Sticker Star, the first Mario RPG that could be considered a flat-out bad game.
Not that you could truly call Sticker Star an RPG. Sure, turn-based battles were back, but they were dictated entirely by consumable ‘sticker’ items. Every action you used in battle required these consumable items. And for victory, you didn’t get experience points and level up.
For winning battles, you were rewarded with either A) more stickers, or B) coins…to buy more stickers. It was a self-defeating concept. Why should I bother fighting and spending my stickers if the only reward is more stickers? And if you think you’re supposed to save up stickers for boss fights, that’s not it either. Bosses required specific stickers to be defeated, so it’s not like conserving and strategizing the stickers you’ve saved up even meant anything.
You know what’s even worse? Sticker Star not only had virtually no story to speak of, and no party members, but it removed the humorous writing the Mario RPGs were known for (Bowser, of all characters, never even spoke). Sticker Star also marked the beginning of the bizarre trend of Nintendo not allowing the Mario RPGs to feature original enemies, with only established baddies from the platformers showing up. Perhaps strangest of all, this was also when Nintendo started making every last Toad in the Mario RPGs just look like the generic “blue vest, red spots” Toads. When the previous RPGs gave us Toads of all shapes, sizes and crazy geddups, why take that away and effectively remove so much personality from the games?
And yet, this was the direction Nintendo decided to stick with. Sure, the next RPG in the Mario pipeline, Mario & Luigi: Dream Team (released on 3DS in 2013) was a step up in many ways (for one, it actually felt like an RPG again). But it also was, by a considerable margin, the most creatively bland M&L game up to that point. It did have some original enemies again, but the “Generic Toad” epidemic was still in full effect.
Then, in early 2016, the 3DS also saw the release of Mario & Luigi: Paper Jam. In concept, Paper Jam sounds like it should have been the shot in the arm the Mario RPGs needed, being a crossover between the two continuing Mario RPG series.
Sadly, the concept is the best part of the game, as Paper Jam was really just a watered down Mario & Luigi sequel that doubled down on Dream Team’s faults (Toads with zero distinction and personality, no more original enemies whatsoever). It just so happened to feature Paper Mario as a third party member. Considering how great the Mario & Luigi games once were, it was sad to see the series fall this far from grace.
To sum it up simply, Superstar Saga remains one of the funniest, most quotable games I’ve ever played, but I honestly can’t remember any bit of writing that came out of Paper Jam.
Later in 2016, we’d get the last new Mario RPG so far (again, unless we count Mario + Rabbids), Paper Mario: Color Splash on Wii U. Despite fans wanting Nintendo to return to the turn-based, actually-an-RPG style of the first two Paper Marios for years, Nintendo decided to go all WWE and turn a def ear on fans. They actually made the game a follow-up to Sticker Star’s gameplay.
To its credit, at least Color Splash had some humor and personality to it (though the Toads remain generic, and new enemies still weren’t allowed), and some of the gameplay could be fun. But there still weren’t any party members, and the battle system remained largely pointless (though the game’s “cards” were an improvement over their sticker predecessors, seeing as you could power up cards by painting them, and you could gradually increase your maximum paint through battles, so there was some semblance of progression). So Color Splash was essentially a version of Sticker Star that wasn’t completely broken. But that’s not exactly “on par with the Mario platformers and The Legend of Zelda” now, is it?
Again, one could argue that Mario + Rabbids Kingdom Battle set things in a right direction for Mario RPGs (and it’s certainly a better game than anything involving the Rabbids has any right to be), but you could also argue it should go in a whole other category. Even still, as enjoyable as Mario + Rabbids is, I still wouldn’t put it on the same level as the Mario RPGs of old.
Thankfully, the fact that the 3DS now houses Superstar Saga and Bowser’s Inside Story means we have access to brilliant Mario RPGs on contemporary hardware. But it’s kind of sad that Nintendo had to resort to past success in order to do so. Don’t get me wrong, the remakes are great, but it would be great if we could also get a brand new Mario RPG that could live up to its legacy.
Super Mario RPG, Paper Mario, Superstar Saga, Thousand-Year Door and Bowser’s Inside Story are widely (and wisely) considered the top-tier Mario RPGs. But the sad thing is it seems like Nintendo has no plans on making a Mario RPG like they used to.
What’s particularly sad about that scenario is that the Mario franchise on the whole has really never been better. The release of Super Mario Galaxy in 2007 began a Mario renaissance that continues to this day. Between it, Galaxy 2, 3D World, Mario Kart 8, Super Mario Maker and Odyssey, the Mario franchise hasn’t lost any steam. And while Bowser’s Inside Story was released within this timeframe, that was it for the RPGs.
For whatever reason, Nintendo decided to strip away the things that made Mario RPGs so memorable in the first place. And instead of listening to fans and changing course (as they have in other areas in recent years), they’ve just gone into overdrive in regards to watering down the once great sub-genre. If one were only to have played Color Splash and Paper Jam, they’d never know that Mario RPGs were, at one point, among Nintendo’s finest achievements.
Here’s hoping that the recent remakes of Superstar Saga and Bowser’s Inside Story remind Nintendo of what Mario RPGs once were, and help them figure out how they can recreate that magic.
Whether its a worthwhile Mario & Luigi, a Paper Mario that returns to its roots, doing the impossible and teaming with Square to make a direct sequel to Super Mario RPG, or something new entirely, a new Mario RPG that can live up to the legacy of its best predecessors is something Nintendo sorely needs.
*Review based on Wario Land 4’s Wii U Virtual Console release*
Here’s an unpopular opinion: The original Game Boy hasn’t aged well. Sure, there are a few games from the original Game Boy that hold up decently (namely Game Boy Color exclusives), but for the most part, its games represent a time when the convenience of gaming on the go came at the expense of quality. The Game Boy Advance, however, marked a time when handheld games began to capture a more timeless quality. The GBA was the SNES to the Game Boy’s NES, with its predecessor feeling archaic (save for a handful of titles) while it itself holds up so well, it doesn’t feel like a retro console at all.
Case in point: Wario Land. Wario Lands 2 and 3 on the original Game Boy were once hailed as some of the best handheld games of all time, and while they’re still decent to play, they’re getting on a bit. Wario Land 4, on Game Boy Advance, however, is still a worthwhile platformer today. Perhaps not an all-time great, but it’s certainly not disappointing to revisit.
Like its predecessors, Wario Land 4 is all about the greedy anti-Mario’s quest for treasure. This time, Wario is pillaging an ancient pyramid in the middle of a jungle, but gets trapped inside and has to find a way to escape, all while collecting as much treasure as possible, of course.
Wario retains his brutish strength from the past games, with his charging attack, ground pound and ability to pick up and throw enemies intact. Additionally, by holding the R button, Wario can run at such a great speed, that with enough momentum, his hard noggin can break through blocks that even his charge attack can’t budge. Similarly, if he ground pounds from a great enough height, he can also destroy these stronger blocks (there’s even one puzzle in the game that cleverly combines this with a teleporter, meaning that Wario was thinking with portals even before Portal).
The structure of the game takes a different approach from its predecessors, however. There’s a quick tutorial that shows you the ropes of the game (it’s actually one of the better tutorial levels I’ve seen, effectively condensing all the game’s elements to their bare basics, thus giving you insight to the entire adventure ahead). After that, the game features four worlds, which you can play in any order you see fit (and if you get stuck in one world, you can leave it and do another for the time being). The worlds themselves follow a more linear structure, however, with each featuring four stages and a boss fight at the end.
Stages work a bit differently here than they did in past Wario games (and most platformers in general, for that matter): Wario searches through the levels collecting treasures, but instead of a traditional goal found at the end of a stage, each level features a statue of a blue frog (why not?) that, when jumped on, activates a timer. With the time ticking down, Wario has to make his way back to the beginning of the stage, where a portal now waits to take Wario back to the hub. Naturally, Wario gets to keep every treasure he collects if he makes it back before time runs out.
While most of the jewels and coins scattered about add to Wario’s score, each level also contains three unique treasures: One is a bird with a key for a beak (again, why not?) which is needed to unlock the next level in that given world. Another treasure is a tablet separated in four pieces found in golden treasure chests, with all four pieces in all four stages needing to be found in order to open the boss door. Finally, a well-hidden music CD can be found and subsequently played in the sound room of the pyramid’s overworld.
While these items add some extra depth to the stages, it’s kind of a shame that – aside from the CDs – they’re required to complete the game. Had there been more non-story items, Wario Land 4 would have a fun staying power for completionists, instead of most return visits to levels being out of necessity for having missed a key or one of the four tablet pieces the first time around.
The levels themselves are well designed and creative. It’s fun to search through them for treasures, and they never feel so labyrinthian as to be confusing. The stages are also less bland than in the past few Wario Lands, with fun gimmicks added into the mix. One of my favorite stages is built around knocking over stacks of dominoes, then racing to the end of a room before the final domino falls and hits a switch that closes off a treasure.
Level design is always a make or break factor for platformers, and the clever structure and gimmicks of the stages of Wario Land 4 ascend it above its predecessors. There are, however, two notable elements that prevent Wario Land 4 from reaching its full potential.
The first such issue is that, while Wario retains his ability to gain special powers after being struck by certain enemy attacks (swelling up and floating like a balloon when stung by a bee, sliding across surfaces when frozen by an enemy, etc.), Wario is no longer invincible as he was in Wario Lands 2 and 3. In the past games Wario would gain such abilities from almost every foe (with the exceptions merely robbing Wario of coins), here you rarely know when an enemy attack will give Wario a power, and when it will just take health away. It unfortunately gives the game a gambling element that wasn’t present in the past.
The other issue is the process of fighting the bosses of each world. Not only do you have to find all of the aforementioned tablet pieces in each level just to face them, but every boss also features a time limit. If you take too long to defeat a boss, you’ll miss out on the opportunities to claim all of their treasure chests. That’s not so bad on its own, as before every boss fight, Wario has the opportunity to purchase special items (from what looks like Mr. Game & Watch), which are then used to damage the upcoming boss before the fight begins. Some items will do marginal damage, while others will nearly take out the boss on their own. That may sound like a cheat, but considering this is a Wario game, it’s actually a fitting element that compliments Wario’s character and humor.
None of that is a problem on its own. The whole boss process becomes an issue, however, by the simple fact that you can’t just purchase the boss items with the treasure Wario collects along his adventure. Instead, you purchase the items with special tokens. You get these tokens by spending your points/treasure to play one of three mini-games located before the boss fight of each world. You are then awarded tokens based on your performance in these mini-games. The problem is that acquiring these tokens can take a fair amount of time, and with how slowly Wario chips away at the bosses’ health on his own, you’re going to want to spend the extra tokens for the more powerful items to beat the bosses as quickly as possible. So if you want to claim every boss treasure and complete the game at one-hundred percent, you have to repeat the process all over again if you can’t beat the boss fast enough the first time around. Some might say that’s a fair price to pay since the game essentially gives you the ability to cheat, but buying these items is optional anyway. So why not just use your points to buy the tokens and skip the mini-games? It’s just a tedious process that seems counterproductive.
Aside from those elements though, Wario Land 4 remains a winner in most respects. Wario himself controls better than ever, with his every action feeling far smoother than in past games. The level design finds some fun and creative ways to mix up the formula. The game still looks great with its colorful graphics and vibrant animations, and the soundtrack stands tall above its predecessors, meaning that collecting those CDs is worth the effort.
It may not be among the best games on the Game Boy Advance, but Wario Land 4 is another testament that the GBA is when handheld gaming truly made it.
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.
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.
On paper, Wario World sounds like some kind of dream come true: a beat-em-up starring Wario created by Treasure, the developer behind such outrageous action games as Gunstar Heroes and Dynamite Heady? Sign me up! Unfortunately, in execution, the 2003 GameCube title falls well below expectations. And what should have been an easy winner for Treasure and Nintendo instead feels like a tedious time-waster, and a missed opportunity.
Of all Nintendo’s iconic characters, Wario seems to be the most fitting to star in a beat-em-up. The burly anti-Mario is a greedy, selfish brute. It just makes sense for him to be the one to pummel enemies to a pulp over pretty much any other Nintendo character. And Wario World gets off to a decent start in that regard.
Wario can punch enemies, perform his signature charge attack from the Wario Land games, and perform a ground pound (as platforming heroes wont to do). But this time around, Wario can also pick up KO’ed foes and proceed to throw them, swing them around, or pile drive them like a pro wrestler.
Similarly, the enemies at first seem to show some promise: You have tiny foes who are taken out with a single punch. Slightly bigger foes get knocked out after a few hits, thus allowing you to perform the aforementioned throwing, swinging and pile driving. And some large and flying enemies show up and require a little more clever uses of Wario’s abilities.
At first glance, you might think Wario World is heading in the right direction. But then it quickly becomes apparent that you’re just doing the same thing over and over again. There’s not enough variety (or polish) in the combat to make Wario World feel like a memorable beat-em-up. And much like Wario’s moveset, the enemies also rapidly reveal their limitations, with each of the game’s stages simply putting different skins on the same few enemy types.
The only thing preventing the game from reaching absolute monotony is if you’re gunning for 100% completion. Each level houses eight bonus stages, with red rubies waiting at the goal of each. The bonus rounds range from single room puzzles to platforming challenges that bring to mind the bonus stages of Super Mario Sunshine. You only need some of the rubies to complete a stage (three in World 1, four in 2, five in 3, and six in 4), but for completionists, there are more to get your hands on.
Other collectibles include eight fragments of a gold Wario statue on every level, with completion of a stage’s statue increasing Wario’s health by half a heart. There are also eight unique treasures to be found on every level, which appear on a certain colored pad on the ground if you’ve found and pressed the button of the same color. Finally, there are five captive ‘Spritelings’ to be rescued on every level. The more Spritelings you rescue, the better the game’s ending will be for Wario.
It may sound like Treasure added a good amount of content to the stages via these collectibles, but unfortunately, there are more than a few elements that make you not really care about what Treasure crammed into their levels.
Along with the repetitious combat and bland enemies, the camera controls are exceedingly clunky (which makes the Sunshine-esque bonus stages way more difficult than they’d otherwise be), and the level design leaves a whole lot to be desired. Without good gameplay and level design, the collectibles come across more like an arduous chore than an engaging side quest.
If on the off-chance you actually manage to get into Wario World, you won’t be into it very long. The game features four worlds plus a final boss, with each world housing only two stages and a boss fight of their own. The whole game can be completed in a couple of hours, which wouldn’t be a bad thing if what the game did boast were memorable. Sadly, it isn’t. This makes Wario World feeling completely absent of depth and creativity, leaving the game feeling shallow and pointless.
It’s hard to recommend Wario World to anyone but the most diehard of GameCube nostalgics. While the concept shows some promise (especially when paired with its developer), Wario World fails to fulfill that promise. Though it looked decent in its day, Wario’s sense of control felt more like something from the early years of the Nintendo 64, as opposed to the GameCube title it actually was.
Somehow, what should have been a wonderful joint venture between Nintendo and Treasure ended up being a disappointment to both parties involved, let alone the player.
The Super Mario Maker 2 trailer that launched back in February not only got me hyped for the upcoming Switch title, but its addition of the Super Mario 3D World play style had me feeling nostalgic for the 2013 Wii U platformer. And seeing as I previously stated I wanted to start replaying games more and writing more gaming articles besides reviews, now seemed as good a time as any to revisit Super Mario 3D World. Besides, after trudging through the overly-long and tedious Kingdom Hearts 3, and its mishandling of franchises I like, I needed to play something more fun, rewarding, charming, and that did justice to a franchise I like. Thus, replaying Super Mario 3D World was a no-brainer (it sure would be great if they could make a Disney game this good).
Okay, let’s get this out of the way: No, Super Mario 3D World is not as good as the Super Mario Galaxy titles that preceded it, nor is it as good as Super Mario Odyssey that followed. But considering the Galaxy duo and Odyssey are among the greatest games ever created, not being as good as them pretty much refers to most games that aren’t them. On its own merits, however, Super Mario 3D World is still one of the most consistently fun and creative games of the 2010s.
Yeah, it seems like I praise Mario games a lot. But while not every Mario game is good (New Super Mario Bros. 2 and Paper Mario: Sticker Star, both released a year prior to 3D World, were creatively empty and flat-out boring, respectively), I will say that Super Mario is the only series in which a game as great as 3D World could be considered one of its smaller achievements. It may not have the revolutionary factor of Super Mario Bros. or Super Mario 64, nor is it as great as the trio mentioned in the above paragraph or games like Super Mario World. And yet, it’s hard to find much fault in Super Mario 3D World other than “it’s not as good as some other Mario games.” The Legend of Zelda is probably the only other series that can boast equal quality, though maybe not quite at the same level of consistency (and maybe Dark Souls/Bloodborne, but that has far fewer entries).
What makes Super Mario 3D World so good? It all boils down to the two qualities that best define a good game: great gameplay, and a terrific sense of creativity. 3D World may not be the most innovative Mario game, but the gameplay and design is as polished as any of the heroic plumber’s entries, and each stage is a showcase of one playful idea after another. It’s the kind of game where the simple act of controlling your character is a joy (which is actually pretty rare, though seemingly less so with this series).
Many fans were at first disappointed with Super Mario 3D World’s initial E3 reveal, as it followed in the footsteps of the 2011 3DS title, Super Mario 3D Land. This raised fans’ eyebrows for two reasons: The first was that 3D Land was a solid game, but not a particularly standout one which, again, given the pedigree of the Mario series, is tantamount to a massive disappointment. The other reason is that, like 3D Land, 3D World seemed to be aiming more for the feel of a 2D Mario entry than a 3D one with its linear level design, with most fans protesting that the 3D Mario titles were losing their distinct identity due to the ludicrous sales of the New Super Mario Bros. side scrolling series.
While I admit I too at the time had some doubts about seeing a “proper” follow-up to 64, Sunshine, and the Galaxy duo (we would eventually get just that with Odyssey), I was hardly disappointed with what 3D World promised. After all, we were ‘only’ three years removed from Galaxy 2 at the time (most “proper” 3D Marios had much longer gaps in between releases), so it didn’t really feel like the necessary time for another Mario title of that scale. Secondly, while the New Super Mario Bros. games were competently fun, they never really felt like the worthy continuations of Super Mario Bros. 3 and Super Mario World that they wanted to be. 3D Land introduced the style and feeling of 2D Marios into the world of 3D Marios (linear stages with clear end goals, time limits, etc.) and felt like a step in the right direction. But again, didn’t quite hit the mark.
Super Mario 3D World, however, quickly reveals itself as the worthy successor to games like Super Mario Bros. 3 and World that we had been waiting for, despite being a 3D title. It took the foundations of 3D Land, and combined it with the sense of invention and polish that we expect from Mario’s best titles (which, again, was lacking from New Super Mario Bros. and 3D Land). The Galaxy games had refined what 64 started, so it was cool to get something that felt like a fitting continuation to the Mario games that predated 64 (now if only the Mario RPGs could get a worthy follow-up).
There are so many things that make Super Mario 3D World work so well: the level design is a constant delight, with each stage presenting something new, and always fun. The power-ups – from perennial favorites the Fire Flower and Tanooki Leaf, 3D Land’s Boomerang Suit, and 3D World’s own Double Cherry (which duplicates your character) and the surprisingly powerful and versatile Cat Suit – are all a joy, and add so much to the gameplay (the Cat Suit, in particular, has to join the ranks of Mario’s best power-ups). And you get to play as not only Mario, but Luigi, Princess Peach and Toad as well, each coming with their abilities from Super Mario Bros. 2 (Luigi jumps highest, Peach floats, and Toad is fastest, with Mario being well-rounded). And of course you can unlock Rosalina, who comes equipped with the spin attack from Super Mario Galaxy. It’s a Mario platformer where you get to play as Rosalina! That alone makes it a winner (Rosalina is best girl).
Oh yeah, I almost forgot that Super Mario 3D World is also the only four-player entry in the 3D Mario canon. And unlike many games that add co-op multiplayer to a traditionally single-player formula, the level design of Super Mario 3D World compliments playing alone or with friends.
If there’s any downside to Super Mario 3D World, it’s that the boss fights are an utter cakewalk. Yeah yeah, people claim Mario bosses tend to be easy, but the series often finds ways to make the boss battles feel creative, which makes it easy to look past a lack of difficulty. But aside from the final fight against Bowser and two other recurring bosses (a monarch snake and a Koopa/Blob/Clown/Monster), the boss fights of 3D World feel tacked on and rushed (Boom Boom should never serve as a world boss). But aside from the underwhelming boss battles, just about everything else about Super Mario 3D World is a constant barrage of fun and inspiration.
Along with gameplay and creativity, Super Mario 3D World also boasts what I consider to be the third key ingredient to a great game: a fantastic musical score. Again, the music may not quite be on Galaxy or Odyssey’s level, but 3D World still provides one of the most memorable scores in the Mario canon. Even the sound effects of the game seem to reinforce the game’s “fun at all costs” mentality.
Under my original “.5” scoring system, I awarded Super Mario 3D World a 9.0 out of 10. But now, under my current whole number system, I’ve flip-flopped between an 8 and a 9 (flip-flopping more than perhaps any other game). Unlike other games where I’ve been indecisive with its score, it’s my ‘heart’ that rates the game lower and my ‘mind’ that rates it higher. In terms of ‘heart,’ I can say I don’t feel quite as strongly for 3D World as some other games I would rate highly. After all, I gave both Red Dead Redemption 2 and 2018’s God of War a score of 8/10, as I’m trying to make that the exceptional score that most games would strive for. In that sense, 3D World makes sense with that score. But in terms of ‘mind,’ I would say that Super Mario 3D World doesn’t really have many notable faults. Aside from the boss fights and “not being as good as other Mario games,” there’s really not much to gripe about with Super Mario 3D World. As great as Red Dead 2 and God of War are – and yes, they are undeniably ‘bigger’ games than 3D World – they also have more notable flaws than Mario’s Wii U outing. Super Mario 3D World doesn’t feature an obnoxiously sidetracked trip to Guarma, for example. So I’m still undecided on which score to settle on.
As of this writing, I’ve beaten the “main game” of my current playthrough of Super Mario 3D World, and am currently playing through the post-game secret worlds. And after recently playing through lengthy games (including the aforementioned tediousness of Kingdom Hearts 3), revisiting Super Mario 3D World is exactly what I needed. Its constant sense of fun and invention, combined with its polished execution makes Super Mario 3D World an easy game to pick up and play, and a delight to revisit again and again.
Super Mario 3D World may not be the most groundbreaking Mario game, but it’s an undeniable blast from start to finish. And while my favorite Wii U game will always be Donkey Kong Country: Tropical Freeze, Super Mario 3D World is just about the only Wii U game left that hasn’t either been ported to the Nintendo Switch, or have an improved sequel for Nintendo’s hybrid console (even Super Mario Maker, once believed to be the justification of the Wii U’s gamepad, is getting a Switch sequel). So along with the Virtual Console, Super Mario 3D World is basically the reason to keep your Wii U at the ready… at least until it gets ported to the Switch.
Is Super Mario 3D World worth a replay? Oh, hell yeah!