*Review based on the Steam release of Oddworld: Abe’s Exoddus*
I don’t know if I’ve ever been more grateful for the save feature in a video game than I am for that of Oddworld: Abe’s Exoddus. The original Oddworld title, 1997’s Abe’s Oddysee, is a unique puzzle-platforming experience whose gameplay and imagination stand the test of time. But it’s also hard as all Hell, and only saves your progress at widely spread out checkpoints, making its trial-and-error moments needlessly time consuming as you inch closer and closer to victory with every attempt, but have to start a sequence all over again whenever Abe gets shot, chopped up, flattened or blown to smithereens.
Thank Odd then, that Abe’s Exoddus, the unplanned 1998 sequel, implemented a quick save feature. You can now pause the game, and either save your progress on any screen (resuming your progress from that point when you restart the game), or you can quick save at literally any time to respawn in that exact spot when you die. And should you be a jackass and quicksave right before an impending death (something my younger self enjoyed doing a little too much), you can select the “restart path” option to go back to a checkpoint. To cap off this streamlining of saving, when you load your game, your most recent save file will always be on the top of the pile, in contrast to the first game listing them in alphabetical order by area (with the areas being listed as abbreviations, which could make things tricky).
This alone makes Abe’s Exoddus a vast improvement over Oddysee. But the improvements don’t stop there. Exoddus is a much bigger game than its predecessor, with just about every element of Oddysee being expanded upon in fun and meaningful ways.
It’s something of a shock then, when you gain the knowledge the game was entirely developed – from planning stages to release – in a relatively short nine months. After Abe’s Oddysee – the first installment in the planned five-part Oddworld Quintology -became a surprise hit, developer Oddworld Inhabitants was pressured into making a sequel to meet the next holiday season. With a short timeframe to make a new game, Oddworld Inhabitants held back on the second Quintology entry (Munch’s Oddysee), and decided to make a direct sequel to Abe’s Oddysey which could use the same assets and thus shortening development time to meet their deadline.
Series creator (and voice actor for basically every character) Lorne Lanning made no secret of what a nightmare he thought this rushed development process was, and how it burned out the development team. Though that’s an understandable reaction from the game’s creators given the circumstances, they should at least take solace in knowing that their efforts paid off. Oddworld: Abe’s Exoddus was not only an improvement over Oddysee is pretty much every way, but was also one of the best games to be released on the original Playstation console. And due to the adjustments and additions it made to the formula, it has stood the test of time a lot stronger than its predecessor.
The game begins immediately after the events of the first game. Abe, the Mudokon savior who rescued his fellow slaves from becoming minced meat from Rupture Farms, has a vision from long-dead Mudokon spirits (humorously named “the Three Weirdos” in the game). The Weirdos inform Abe that sacred Mudokon burial grounds are being disturbed, and the bones of their ancestors are being dug up by unknowing Mudokon slaves (their eyes have been sown shut, so they don’t know what they’re digging) under the SoulStorm Brewery corporation (Mudokon bones being the secret ingredient for the brew).
So Abe sets out with a few friends to liberate more Mudokon slaves and save the sanctity of their dead. That’s easier said than done, however, as the destruction of Rupture Farms has made Abe public enemy number one to the Glukkons, whose many corporations are now under heavier security.
Although Abe’s Exoddus uses the same engine and assets as the first game, pretty much everything has been given more depth and variety. While the first game had ninety-nine Mudokon slaves to rescue, Exoddus expands that number to three-hundred. The player can still use the “gamespeak” feature to communicate with these Mudokons, but now Abe has more things to say, and certain Mudokons will require different interactions.
Along with the “hello,” “follow me” and “wait” commands from the first game, Abe can also say “sorry,” “stop it,” “work” and even slap a Mudokon in the face. Sorry is used to apologize to depressed and angry Mudokons, while stop it is used if they are bickering amongst each other. Work is used to have them help out when a problem requires multiple sets of hands (like multiple switches needing to be pulled in unison to open a door), and to have them resume their duties when a Slig guard passes by, to avoid suspicion. Finally, the slap is used on Mudokons who have been exposed to laughing gas, and are recklessly running around in need of a good slapping. There are also the aforementioned blind Mudokons, who rely solely on Abe’s voice and can’t follow the character himself, making for some notably tricky moments.
Best of all, however, is the “All of ya” command. In Abe’s Oddysee, many moments could grow tedious if they included multiple Mudokons, as you would have to talk to each one individually, and often have to repeat a process as many times as there were Mudokons in the area. But with the All of Ya command, you simply get the attention of every Mudokon on screen. Like the new save features, it’s the best kind of streamlining.
Of course, Abe still has his chanting, which is not only used to open portals to free slaves, but also allows Abe to telepathically control enemies. In Oddysee, Abe could only control Sligs, using them to infiltrate enemy lines and utilize their fire power, since Abe himself can’t attack. in Exoddus, there are also flying Sligs that can be controlled, which come in handy as the traditional Sligs can’t jump. Wild Paramites and Scrabs can also be controlled by Abe this time around, and it’s clever how the game utilizes their established behaviors from the first game for the sake of gameplay (Paramites attack in packs, so you can communicate with others when they’re under your control, whereas Scrabs are extremely territorial, and will fight each other on site). Later in the game, Abe can even possess Glukkons! Though the Glukkons aren’t built for fighting (under their suits they walk with their long arms, like Sebulba from The Phantom Menace), Sligs will do whatever they say without hesitation or suspicion. And of course, Glukkons can access important areas that no one else can, due to their high standing in Oddworld.
Perhaps strangest of all, however, is that Abe has the ability to possess his own farts. Yes, Abe could fart in the first game, but more as a pointless joke (and the occasional game of “Simon Says” which utilized the voice commands). But here, Abe’s flatulence have more utilitarian use in gameplay. If Abe comes across a SoulStorm Brew vending machine, he can have a drink which will fuel his next fart. If Abe farts after drinking a brew, said fart will explode where it stands within a few short seconds. But if Abe chants within that time, he can possess the fart, and use it to find enemies, bombs or drones (which prevent chanting and possession) and blow them up with it. Admittedly, it’s a little weird within the context of the story that Abe would drink the brew (though I suppose it’s a “using their own weapon against them for the greater good” kind of thing), but the fart control does give Abe a fitting means to attack without taking away the puzzle-solving strategy.
Like its predecessor, there are still a number of moments in Abe’s Exoddus where it really feels like the developers packed on the trial-and-error with some of the puzzles, and there are some secret areas with hidden Mudokons that you can miss (in my review of Abe’s Oddysee, I complained that there are a couple of hidden areas hiding behind large, obstructive objects in the foreground, but there’s at least one such secret in Exoddus that’s hiding behind a barely obstructive object in the foreground, which is probably even more annoying). But these elements aren’t nearly as frustrating as they were in the first game due to the aforementioned save feature. You can literally save after each individual step of a puzzle if you want (the quicksave is instantaneous to boot), and if you miss a secret, you can more easily load a previous save file to find it (though if you’re going for 100% completion, I recommend having a guide or walkthrough handy, because you wouldn’t want to undo too much of your progress just to backtrack to one secret). So even though some of Oddysee’s drawbacks are still present, they are much more tolerable this time around thanks to the improved saving.
Video games are an art form, I don’t know why that’s ever in dispute. But video games are at their strongest artistically when they embrace their game-ness. The first two Oddworld titles may be the most overt example of this. Oddworld was one of the earlier example of a video game pushing the narrative merits of the medium (with its environmental and sociopolitical themes). While Abe’s Exoddus may have come about due to commercial demand as opposed to Oddysee’s more inspired creation, the sequel is by far the superior work because it’s a better game. I think there’s a lesson a lot of today’s developers could learn there.
*Review based on the Steam release of Oddworld: Abe’s Oddysee*
In 1997, an odd little game arrived on the Sony Playstation by the name of Oddworld: Abe’s Oddysee. Developed by the aptly-named studio Oddworld Inhabitants, Abe’s Oddysee was planned to be the first installment in the five-part Oddworld Quintology (yes, Pentology is the proper term for a five-part series, but quintology just sounds better, I suppose). The game was a surprising critical success, and even performed commercially well. Though additional Oddworld games would follow, only the second installment in the quintology, Munch’s Oddysee, was produced (the other two Oddworld titles, Abe’s Exoddus and Stranger’s Wrath, were considered “bonus” games that built on Oddworld’s mythology). Oddworld Inhabitants had notorious relationships with publishers, and eventually left the gaming scene for close to a decade, before they returned with a remake of Abe’s Oddysee titled “New N’ Tasty” in 2014, to start the series over.
The Oddworld Quintology may be continuing anew, but it’s a shame the original vision of the series never came to light, because Abe’s Oddysee certainly got things off to a great start. In many ways, Abe’s Oddysee was ahead of its time, with gameplay that still feels unique to this day, and an equally unique world to go with it. Though it has to be said that the experience of playing Abe’s Oddysee today is hampered a fair bit by a steep difficulty curve (including some outright cheap moments that go against what the game instills in the player early on), which is made all the more difficult by a convoluted save feature.
The story is set on the titular planet Oddworld, and the game does a pretty terrific job at giving the player a good insight into its world with very little exposition. Rupture Farms is the biggest meat processing plant on Oddworld, and slaughters the creatures of the planet with reckless abandon (“We used to make Meech Munchies… until the Meeches were through”). In Oddworld, certain species are born into different social classes, and Rupture Farms is no exception: at the top of the pecking order are Glukkons, suit-wearing, cigar-smoking businessmen. Sligs are miserable creatures that are born to be the hired guns for the Glukkons. And at the bottom of the totem pole are the Mudokons – humanoid creatures that looks like a cross between Gollum and the Teenage Mutant Ninja Turtles from the 90’s movies – who have become slaves to the Glukkons’ many corporations.
Abe is one such Mudokon working for Rupture Farms, notable for being more blueish-gray than the Mudokons’ usual green coloring. Late one night when waxing the floors, Abe passes by the boardroom, and curiosity gets the best of him. He listens in on a board meeting, where the Glukkons are discussing Rupture Farms’ decreasing sales. The Paramites and Scrabs – Rupture Farms’ most popular meat sources – are starting to turn up thin. But CEO Mullock has a “great” idea for a new product: Mudokon pops, which are little more than Mudokon heads stabbed on a stick (at least in the US version. International versions of the game censor it as a popsicle shaped like a Mudokon head, which lessens the impact). Horrified at the fate the Gluckons have planned for him and his fellow Mudokons, Abe hopes to escape from Rupture Farms, and free as many slaves as he can (for gameplay purposes, there are 99 in the game to rescue).
There’s an obvious environmental, sociopolitical element to the game. But what Oddworld managed to do to great effect is expressing these themes without ever feeling self-righteous. It has a good balance of imagination and humor to go along with the political aspects (one button even allows Abe to fart, just because), which prevents the game from feeling too pretentious or in love with itself. There are far more story-heavy games made today (whether artsy indie titles or AAA games that think emulating movies equates to art) that get such praise for their narratives upon their initial release, only to be laughed at as egotistical hot air in hindsight. When you make the comparison to Oddworld, such games end up with even more egg on their face.
In terms of gameplay, Abe’s Oddysey is a puzzle-platformer. Abe is no fighter, and if one Slig catches him he’s toast in a second’s time. But Abe has some tricks up his sleeve: he can sneak and hide in shadows, roll into small spaces and, crucially, he can chant to telepathically possess Sligs.
The chant is also used to open portals to free your fellow Mudokons, but it’s only one of several voice commands Abe can make. Abe can also communicate with Mudokons with “hello!” “follow me!” and “wait” (as well as the aforementioned fart, which makes both Mudokons and Sligs giggle). This is important because, once puzzles are solved and the dangers are gone, Abe will have to guide Mudokons to the nearest portal. This “gamespeak” was truly innovative in its day, though there’s an unfortunate caveat in that Abe can only guide one Mudokon at a time, which makes certain moments with multiple Mudokons more than a little tedious (it should be no surprise that Abe’s Exoddus, as well as the remake, fixed this and allowed Abe to communicate with groups).
Another issue with the game is when the focus becomes more action-based (mostly in the middle section of the adventure, when Abe is often chased by wild Paramites and Scrabs). Abe controls well enough, but he controls well for the slow paced nature of the majority of the game. When things get hectic, and Abe needs to run, jump and roll in quick succession without missing a beat, it just feels off. Abe just isn’t made with the same kind of precision as characters like Mario or Sonic, but these chase sequences often play out as if he does, which makes them feel clunky.
There are additional problems when it comes to rescuing Mudokons. The process itself is simple enough (make sure it’s safe, guide them to a portal, chant to open said portal), but there are several hidden Mudokons that -should you miss them – you don’t get a second chance to rescue. And some of them are hidden in really esoteric places (gee, I never would have thought that there was a hidden room I could climb down to behind the large, obstructing object in the foreground, because why would I?). What’s all the weirder is that the majority of these secret rooms and hidden Mudokons are in the earlier portions of the game, whereas things are more out in the open later on. So these missable Mudokons feel like one big beginner’s trap. You probably wouldn’t think of how you find some of these secret areas until later in the game, long after you’ve missed your chance to rescue the poor souls. I’m not sure if this was intended to incite replay value (with the knowledge you have by the end of the game you can redo the beginning and get everything), but it feels like a cheap means to achieve it.
There are a number of other beginner’s traps in regards to the puzzles. While some of the puzzle solving is clever and leads to genuine “aha!” moments, there are more than a few where the game will feel like it’s throwing one cheap death after another on the player, prolonging certain sections by forcing the player to make only a little more progress with every try. Trial-and-error isn’t unforgiveable in video games, but it certainly isn’t ideal. And sometimes, Abe’s Oddysee just takes things way too far. It’s one thing if the trial-and-error is the result of my own mistakes, but how am I supposed to just know when dropping down a hole will put me right in a Slig’s line of fire, or when I casually stroll to the next screen just to be greeted by a hungry Slog (it’s like a Slig’s dog) two feet in front of me?
Granted, you have unlimited lives, so you can keep trying a section as many times as you need to get it right. But the game can be really stingy with the checkpoints, meaning that sometimes you’ll have to replay decently large sections multiple times over just because of one tricky little detail (what’s worse, if there are secret rooms and Mudokons within that timeframe, you’ll have to rescue them again every time until you reach the next checkpoint). I’m all for a good challenge, but when difficulty teeters into tedium, a game loses me.
On the subject of checkpoints, the save feature is the game’s single biggest drawback. A game this demandingly difficult should at the very least apply checkpoints liberally. Not only are these checkpoints in short supply, but the game actually does have a manual save option in the pause menu, but it still only saves at the checkpoints! I’m guessing this means the checkpoints themselves only save your progress when you die, but not when you quit playing the game, whereas the save option ensures you can reload the game from that checkpoint the next time you play? But then why separate the two? Either just have the checkpoints save the game, or let me save my progress on whatever screen I need to!
To further convolute things, when loading a saved file, the checkpoints are listed in alphabetical order, which isn’t how they appear in the game itself (it’s easy to find the levels themselves, but the checkpoints of the levels are often out of numerical order, which gets confusing). Goodness, why do I have to jump through so many hoops just to save and load my game?
By now things are sounding largely negative, but these drawbacks have merely been magnified with age. I still feel like there’s enough good to make Abe’s Oddysee a worthwhile gaming experience.
The gameplay is unique and fun, especially when you get to possess a Slig and infiltrate the enemy (sometimes there are drones that prevent Abe from chanting to possess a Slig, giving you another obstacle to overcome by finding a way to destroy the drone or luring a Slig away from it). The graphics, while aged, give the game a distinctly dark (sometimes gruesome) atmosphere, as does the music. Abe’s Oddysee was years ahead of its time in regards to merging gameplay and story. But perhaps best of all is Oddworld itself, one of the all-time great video game worlds. So much about the game is dedicated to its worldbuilding, and the world it builds is really unlike any other in the medium.
Better things laid ahead for Oddworld (the two “bonus” titles, Abe’s Exoddus and Stranger’s Wrath were the best entries, oddly enough), and with the series set to continue in 2021 from where the remake left off, better things may still be in its future. And while going back to where it all started may be rough around the edges, it’s still sure to leave an impression.
Crash Bandicoot’s recent resurgence has to be the best reboot in video game history (one could argue that title belongs to Sonic Mania, but that wonderful game was followed-up by the dreadful Sonic Forces mere months later, somewhat negating the goodwill Mania created). There have been a few great video game franchise revivals over the years – such as when Retro Studios picked up the Donkey Kong Country mantle – but they were revived continuations. As far as hitting a complete reset button goes, Crash Bandicoot went from a washed-up mascot to once again becoming a viable franchise as if we were back in its heyday.
The original “unofficial” mascot of the Playstation brand has had a slow burn of a build-up to his first brand-new game in over a decade. Back in his absent years, Playstation 4 commercials featured background cameos and references to the face of Sony’s early days in the gaming market. In 2016, Uncharted 4: A Thief’s End featured a segment where series’ hero Nathan Drake played a stage from the very first Crash Bandicoot on his Sony Playstation in a fun meta moment (the Uncharted series being created by Naughty Dog, the original creators of Crash Bandicoot…back when they actually made video games). This lead into 2017’s release of Crash Bandicoot: The N. Sane Trilogy, a compilation of Naughty Dog’s original trio of Crash Bandicoot titles recreated from the ground-up for the PS4. Though the games showed some aging in certain areas (namely some tricky perspectives, these were released in 3D gaming’s infancy after all), the N. Sane Trilogy proved that fun itself never ages, and showed that there was still an audience for the franchise. Then in 2019, Crash Team Racing: Nitro-Fueled (a remake of Naughty Dog’s final Crash game, one of the few kart racers that is held in a similar regard to Mario’s) was released, and pushed the boundaries for what to expect in a video game remake.
Now seemed like the appropriate time to finally pull the trigger on a brand-new Crash Bandicoot game. And that’s exactly what happened when Toys For Bob announced they were making Crash Bandicoot 4, fittingly subtitled It’s About Time, which released at the beginning of October 2020.
That “4” in the title is important, as it’s the game’s way of telling players outright that this is a continuation of the original trilogy, ignoring the games that were released post-PSOne/pre-N. Sane Trilogy.
I remember way back when I played Crash Bandicoot: The Wrath of Cortex (the “first fourth” Crash Bandicoot title) it was obvious that the magic just wasn’t there. It certainly wasn’t the worst platformer you could find at the time, but it was uneventful enough that from that point on, I had kind of forgotten how much I enjoyed Crash Bandicoot back in its heyday. Unlike something like Super Mario, which has proven timeless, it seemed Crash had his time in the sun, and it was over. The series was destined to be a fond memory of the past.
The N. Sane Trilogy was more than just a nostalgia-fueled remake (though it was that too), but a launching pad to start the series over, which continued with the Crash Team Racing remake. Now, Crash Bandicoot 4: It’s About Time successfully follows-up this relaunch in such a way that it makes you forget everything that happened to the series after the PSOne era. And in the end, Crash Bandicoot 4: It’s About Time arguably proves to be the best game in the series.
Ignoring the gimmicks of later entries, Crash Bandicoot 4 utilizes the same kind of platforming mechanics and stage design of the original trilogy (though the game was built from the ground-up, and doesn’t utilize any assets from the N. Sane Trilogy). It’s a 3D platformer, but it plays more like a 2D one. Crash Bandicoot (or his sister Coco, who is playable in any of Crash’s stages from the get-go) can run, jump and spin across linear levels, with the camera usually following behind them (though there are also sections with a straight-up 2D perspective, as well as the series’ “chase” levels, which sees the player character running towards the screen). Along the way, they break crates (think Donkey Kong’s barrels) and collect Wumpa Fruits (akin to Mario’s coins or DK’s bananas).
While I have to admit there are times when the perspective can still be a bit tricky, leading to some unfair deaths, for the most part, Crash Bandicoot 4 is an utter delight to play. Yes, those occasional trickier perspectives prove that Crash’s formula isn’t as timeless as that of Mario, but Crash Bandicoot 4 is proof that fun gameplay and strong level design make up for any shortcomings.
That isn’t to say that this is merely the same old Crash Bandicoot with new levels, as Crash Bandicoot 4 makes quite a few meaningful additions and adjustments to the proceedings. The most immediate during gameplay being that Crash/Coco’s shadow is made more prominent, with a targeting reticle around it, which may sound like a small detail, but it greatly benefits Crash Bandicoot’s unique perspectives of 3D platforming.
Another change occurs before you even start the game, with players able to choose between “Retro” and “Modern” play styles. Retro plays things true to Crash’s history, utilizing extra lives and game overs (which will send the player back to the beginning of the current level, no matter their progress), and also means collecting one-hundred Wumpa Fruits results in an additional life. Modern mode does away with lives, meaning you’ll always be revived at the most recent checkpoint no matter how many times you die. Wumpa Fruits still have a purpose however, as collecting 40, 60 and 80 percent of a stage’s Wumpa will reward the player with gems (more on that in a minute). If you select one play style but find yourself wishing you’d picked the other, you can switch between Retro and Modern mode at any time in between stages, so thankfully your file isn’t locked onto a set play style.
Between the two, I recommend starting out with the Modern mode, because Crash Bandicoot 4 certainly lives up to the series’ infamous difficulty. In fact, I dare say it’s the most difficult Crash Bandicoot title since the original (though thankfully, it’s much better designed than the first game). But if you just need that classic Crash challenge, the Retro mode is always there. It’s actually a very nice addition to have an option like this.
Another new element comes in the form of N. Verted mode, which is essentially mirror mode – with the stages flipped in reverse – with the fun added bonus of each world’s N. Verted levels boasting a different art style: One world is in black and white, with Crash and Coco’s spins adding color to the world, while another takes on the aesthetics of a comic book, to the point that sound effects appear as on-screen words like “Pow!” and “Bam!” in the tradition of 1960’s Batman. Sadly, because each art style is confined to their respective world, the N. Verted mode doesn’t quite match up to the similar “Tonic” features from 2019’s Yooka-Laylee and the Impossible Lair, but it’s still a fun twist that makes the traditional mirror mode more worthwhile.
A more gameplay-focused addition comes in the form of the Quantum Masks, four spiritual voodoo masks who represent time and space, who serve as new power-ups during certain points in the game: One mask allows the player to phase certain objects in and out of existence (you could say these objects can be placed in categories A and B, with the B objects being ethereal when A is active, and vice versa). This alone feels like a wonderful addition to a platformer, and makes for some of the game’s most creative challenges. A second mask utilizes dark matter to give Crash and Coco a superpowered perpetual spin attack. This is admittedly a bit hard to learn, as it makes the controls feel oddly floaty and restrained at the same time, but it also adds some extra variety to the game. The third mask allows the player to slow down time for a few seconds, with Crash/Coco being the only thing that still moves at normal speed. This power leads to some especially interesting obstacles (and even allows Crash to touch the series’ dreaded Nitro crates without instantly exploding). Finally, the last mask changes gravity, allowing Crash and Coco to flip upside-down and walk on ceilings, for a little Super Mario Galaxy-esque level design.
Each mask feels like a welcome addition (even if the second mask’s spinning ability feels like the developers ran out of time/space-themed ideas), and they really change up the gameplay in some truly inventive ways. Some might be disappointed at how situational the masks are (as soon as their section is done, the masks are removed automatically), but honestly, with the way the level structure works in Crash Bandicoot, I don’t really think they could have been implemented any other way.
My favorite new addition, however, are the stages that center around different characters. While Crash and Coco are the default playable characters in the main stages, three additional characters become playable in the forms of Crash’s archenemy Dr. Neo Cortex; Dingodile, the half-dingo half-crocodile mutant who served as a boss in Crash Bandicoot Warped, and an alternate universe version of Tawna, Crash’s girlfriend from he first game.
Tawna plays closest to Crash and Coco, albeit with an additional “hook shot” weapon that allows her to grab and latch onto things at a distance. Cortex is fittingly the most different, coming equipped with a blaster that can transform enemies into platforms (one blast for a solid platform, two blasts for a bouncy, gelatinous platform, with a third blast reverting the enemy to its standard self, if things need readjusting). Though Cortex lacks the double jump of the bandicoots, he instead has rocket boots that allow him to dash forward in a short burst which, when combined with the enemies-to-platforms mechanic, really gives Cortex’s stages a strong puzzle element. My favorite has to be Dingodile, however. Already the series’ most outrageous character just by being what he is, Dingodile not only attacks with his tail, but also has a vacuum gun that sucks up crates by the dozens, can throw TNT crates at enemies and objects, and gives him a little hover/double jump combo (akin to Dixie Kong in Donkey Kong Country: Tropical Freeze).
There is an unfortunate caveat to these characters’ stages though. While their introductory stages are entirely their own, all of their subsequent levels are only theirs up until a certain point, at which case it switches over to Crash/Coco, turning into one of their prior stages with small tweaks.
You see, during the main stages, you’ll occasionally come across an event that leaves Crash or Coco scratching their head (like an explosion taking out a group of enemies before you can even approach them). The Tawna, Cortex and Dingodile stages present the story from their point of view, and how their actions lead into the aforementioned “head-scratching” moments, which then segue into that previous stage from that moment, with a few changes to crate and enemy placement to mix things up.
While this is a fun twist at first, after a while you begin to really want the other characters to just have levels of their own. It’s a bit disappointing when a Dingodile level really starts to get going, only to abruptly end and switch over to something you already played as Crash. Maybe the game will get some DLC that can expand on the other characters, or perhaps we’ll eventually get a Crash Bandicoot 5 to do just that. But as of now, playing as the side characters in Crash Bandicoot 4 feels like a great new addition that’s only partly realized.
If, by now, you’re curious how all of this comes together – what with the bandicoots, alternate universe characters, evil scientists and dingo-crocodile hybrids – there actually is a story here. In fact, though it may not be a particularly story-heavy game, Crash Bandicoot 4 probably has the most elaborate plot in the series.
Though this is a direct sequel to Crash Bandicoot Warped, Crash Bandicoot 4 is appropriately set twenty-two years after its predecessor (if you’re wondering why none of the characters are older, it’s because it’s Crash Bandicoot – a series largely inspired by Looney Tunes – I don’t think they’re aiming for realism here). Dr. Cortex, along with the evil voodoo spirit Uka-Uka and the time traveling villain Dr. Nefarious Tropy (N. Tropy), have been trapped in a pocket dimension between time and space for all these years. After countless attempts to escape (on Uka-Uka and N. Tropy’s part, they remark that Cortex has done nothing but whine for the entirety of their banishment), Uka-Uka finally manages to tear a hole in space and time. Though the effort costs Uka-Uka all his energy, sending him into a deep slumber (and writing him out of the picture rather unceremoniously, I have to admit). This allows Dr. Cortex and Dr. N. Tropy to escape, with the latter building a space station that can replicate the tear in space and time created by Uka-Uka to reach other dimensions in a plot to conquer the multiverse. Dr. Cortex, being relegated to N. Tropy’s assistant, in turn recruits his own former assistants Dr. N. Brio and Dr. N. Gin to build an army to help out with their plot.
N. Tropy’s tampering with time and space results in the Quantum Masks reappearing, an event which catches the attention of Aku-Aku (Uka-Uka’s benevolent older brother, and something like Crash’s Obi-Wan Kenobi). So Aku-Aku sets Crash out on an adventure to awaken and unite the Quantum Masks in order to put an end to N. Tropy’s plot and bring balance back to the multiverse.
It’s a simple plot, but one that I appreciate for changing up the series’ formula in a few ways, most notably by promoting N. Tropy to the role of primary antagonist. He was always my favorite Crash Bandicoot villain, and I always found it weird how he was introduced in Warped as one third of the main villain trifecta (along with Uka-Uka and the returning Cortex), but then was taken out midway through the game. And then when The Wrath of Cortex reduced his role to a stage obstacle, suffice to say it seemed like the character had missed potential. So it’s pretty cool to see the series continue after all these years and not simply bring back the Crash vs. Cortex formula (though that’s still here too), but effectively redeem N. Tropy and make him a better villain than ever.
Sure, the plot is nothing too fancy, and there’s a couple of elements that could use more fleshing out (particularly when it comes to N. Brio who, given the rebooted nature of the game, was last seen turning over a new leaf in Crash Bandicoot 2. He even addresses Crash and Coco as his friends in this game, but is still working for Cortex, so I don’t know what that’s about). But it’s a fun little story that manages to find a way to hit a reset button on everything post-Warped while also paying tribute to the series’ entire history, even the less savory years.
On the downside, despite the inter dimensional nature of the plot, the actual levels seem more focused on the time travel aspect (a concept which Warped already tackled). There is a Mad Max-style world early on, and then a later world which I won’t spoil also plays off the different dimension theme, but most seem built around different places in different time periods. There’s a pirate world, ancient Japan world, and a dinosaur world. All cool themes, sure, but they don’t really come across as different dimensions. Hell, even the snow world (one of my favorites in the game) is referred to as “The 11th Dimension.” Again, snow and ice are always a great theme, but what’s “11th Dimension” about it?
There is another aspect to the game that sees things continue even after the main plot is resolved which I have mixed feelings about. This “epilogue” section can feel like an alternate idea Toys for Bob had pitched for the story of the game, and ended up tacking it on in addition to the main story anyway just because they still wanted to use it in some capacity. On the other hand, it’s not like this is a serious game where such a story addition would come across as pointless bloat. When your franchise is as innately silly as Crash Bandicoot, you can kind of get away with these things.
I suppose these are all quibbles. I can’t imagine the story and themes are the main reasons someone would play a Crash Bandicoot game. The game succeeds where it really counts, gameplay. Crash Bandicoot 4 really does feel like the true continuation to Crash Bandicoot Warped I had nearly forgotten I’d waited twenty-two years for. It’s the classic Crash Bandicoot gameplay made fresh and new.
If you’re a completionist, Crash Bandicoot 4 also happened to be one of the deepest games I’ve played in that regard in quite some time. If you just want to complete the story, you can do that, but if you really want to get everything out of the game, you’ll stick with it long, long after the story is done.
The time trials from Warped reappear. After completing a stage, you can replay it and grab a clock at the start to begin that stage’s time trial. Breaking certain crates will award you precious seconds of time, and you can earn different relics (sapphire, gold and platinum) depending on how fast you complete a level.
In addition, every stage houses six gems. Three of which, as mentioned earlier, are earned by the amount of Wumpa Fruit you collect. A fourth gem is earned in the series’ traditional way of breaking every single crate in the level, while another is simply found hidden somewhere within the stage. The final gem is the hardest, and requires the player to only die three or less times on a stage to claim it (don’t worry, you can always start a stage over if need be). And yes, the N. Verted versions of the stages have six gems of their own (including the hidden gem in the level being in a different spot than its standard version).
The gems are used to unlock new character skins for Crash and Coco, which are a fun cosmetic change, but admittedly they may not be the strongest incentive for those who aren’t already completionists to replay the stages. And like the N. Verted visual styles, each character skin is locked onto a specific stage (get X amount of that level’s gem to unlock that skin) which can make collecting some of the skins a bit tedious. Unlocking the costumes by using the gems as currency may have been a more desirable way to go.
If this weren’t enough already, some stages even house an item called a Flashback Tape, a floating VHS that you can only collect if you haven’t died up to that point. Each Flashback Tape unlocks its own bonus stage (accessible on the world map), which takes the player back to the days when Cortex was experimenting on Crash. The Flashback levels are particularly tough gauntlets that task the player with breaking every crate, which becomes much trickier than it sounds.
We’re still not done, believe it or not. Because if you’re a really hardcore Crash Bandicoot fan, there’s one last challenge the game has in store: N. Sanely Perfect Relics. As you may have guessed from their name, these are awarded for performing a perfect run on a level, meaning destroying every crate in a stage without dying. In a game that’s already pretty darned difficult, this is quite the steep challenge.
Of course, all these things are only there if you want to tackle them. They give Crash Bandicoot 4 a stronger sense of replay value than I’ve seen in some years. Though one could also argue that maybe Toys 4 Bob went too far down this road, especially seeing as collecting every gem in a stage more or less equates to doing the same thing as the N. Sanely Perfect Relic. The gems and maybe the time trials would have been enough as is.
This is all on top of an already great platformer filled with variety in gameplay, complemented by catchy music and the series’ oddly-satisfying sound effects. The occasional cheap death due to difficult perspectives, overabundance of side endeavors, and the unrealized potential of the additional playable characters are the game’s bigger drawbacks (because more Dingodile can only ever be a good thing), but they still don’t prevent Crash Bandicoot 4 from being one of the best platformers of recent years.
The N. Sane Trilogy may have brought Crash Bandicoot back. But Crash Bandicoot 4: It’s About Time makes it feel like the series never left.
Crash’s comeback has certainly been the best in gaming I can remember. Now if only something similar could happen to Halo, Final Fantasy, Paper Mario and Sonic… again.
First off, we had the announcement of the first new Super Smash Bros. Ultimate character from the six-character “Fighter Pass 2.” It’s Min Min from Nintendo’s ARMs!
Some people were disappointed when Nintendo announced early that the first character of the new batch would be from ARMs, but personally, I think it’s overdue! Why wasn’t an ARMs character added into the game to begin with? It seems like an obvious way to promote ARMs, and it would bring something new to Super Smash Bros. It’s like how Super Smash Bros. for Wii U/3DS decided not to make the Inklings a DLC character. It seems like adding characters from newer Nintendo IPs into Super Smash Bros. would be an easy way to help build prestige for them, so it’s weird how Nintendo is repeatedly late in pulling the trigger on them. And yet, they add new Fire Emblem characters before the game said character appears in has even been released. I don’t get it.
At the very least, I suppose some good came from the delay. Had they added an ARMs character from the get-go, they probably would have gone with Spring Man, since he’s – by default of being the most basic representation of the game’s concept – the de facto “main character” in most peoples’ eyes. But since he was made into an Assist Trophy, we ended up getting Min Min instead, and she’s a far more fun character.
Not only does Min Min look like a fun and unique addition to Super Smash Bros., and represents a game that really should have been represented when Ultimate launched, but also puts an end to the whole “Spirits deconfirm characters” nonsense the internet loved to spew out. Min Min, you see, was one of the countless “spirits” in Super Smash Bros. Ultimate, which basically means she was a power-up you could use in certain modes represented by a stock promotional image of the character.
For too long, people have been deadset on the idea that a character appearing as a spirit in Ultimate means they have no chance of being made into a playable character. Well, now that nonsense can stop. Now the possibilities for future characters are nearly limitless. There’s hope for Geno and Dixie Kong yet.
Another source of gaming news that broke yesterday was the official announcement and reveal trailer of Crash Bandicoot 4: It’s About Time. Although the game’s title and box art leaked a couple of days ahead of time, it’s cool to have the official announcement. And the trailer’s pretty cool (despite the questionable song choice). See?
The character redesigns naturally have some gamers complaining, but I don’t mind them for the most part (Dr. Cortex looks a little odd). But the game looks like a lot of fun. Also, I love how they’re making the game Crash Bandicoot 4, following up the 2017 remake compilation Crash Bandicoot: The N. Sane Trilogy. I appreciate that they’re ignoring everything from the series post-PSOne era.
Of course, the original Crash Bandicoot trilogy was created by Naughty Dog, back in the 90s, and I hold the unpopular opinion that the studio was at their best when they were making the series. The more “serious” the studio has become, the more they just feel like they’re giving themselves a pat on the back. Crash Bandicoot 4 is being developed by Toys 4 Bob, but it actually looks like a more worthwhile continuation to something Naughty Dog started than a certain other recently released Naughty Dog sequel made by Naughty Dog themselves…
Interestingly, Crash Bandicoot 4 is planned for release this year on October 2nd. So it looks like I’ll be getting at least one more PS4 game by the year’s end.
Yeah, this isn’t much of a post. Just some recent video game announcements I’m excited for. Been slow at updating this site lately, so, this is something I guess… More “real” content soon. Sorry.
*Review based on Mega Man X6’s release as part of Mega Man X Legacy Collection 2*
Is Mega Man allergic to the number 6? As far as the main series goes, Mega Man 6 has to be the weakest entry, as it represents the series’ most creatively lazy moment. The Mega Man X series also reached a low point with its sixth installment, aptly titled Mega Man X6. While Mega Man 6’s biggest crime was complacency, it was at least still competently fun. X6, on the other hand, is a bad game. Bad enough that series’ producer Keiji Inafune – who wasn’t even much involved with the title – felt that fans were owed an apology for it.
Released a year after X5 was intended to wrap-up the series, Mega Man X6 feels rushed in a way that no other entry in the franchise – even other annual installments – ever did. There is such a lack of polish emanating from Mega Man X6, that you may wonder if anyone involved with its production even tested it before release.
Set a mere three weeks after the events of X5, Mega Man X6 sees the world in disarray. Zero seemingly sacrificed himself saving the Earth from a space colony that was on a collision course with the planet. Though Zero managed to survive the ordeal (much to the dismay of Inafune, who wanted Zero to have a hero’s death), much of Earth’s population – both human and Reploid – have been wiped out (so I guess by Zero “saving the Earth” the game means it in very relative terms). A new ‘Nightmare Virus’ has been created by a maniacal Reploid named Gate, who is using the virus to turn Reploids into Mavericks (so basically it’s identical to the virus from the last game). Zero went into hiding to repair himself, but the Nightmare Virus is said to have been created through Zero…or something. It gets kind of hard to follow, especially with the hilariously bad translation.
Anyway, the structure of the game is the same deal as before: Eight bosses to choose from, beat them to get their powers to use on other bosses, defeat all eight to move onto the final stages in Gate’s secret laboratory. There is at least a little deviation from the formula here in that you don’t actually have to beat all eight main stages to move onto Gate’s laboratory. Once again, optional mid-bosses will find their way into some stages, and if you can defeat two of these mid-bosses – Nightmare Zero and oddly-named High Max – you can go straight to Gate’s lab without finishing the rest of the stages.
Additionally, defeating Nightmare Zero will unlock the ‘real’ Zero as a playable character. Having to unlock a character who was playable from the get-go in the last two games may seem underwhelming, but at least it’s consistent with the story. And on the plus side, Zero actually has some new moves this time around. X, believing Zero to have died, took up his comrade’s old sword (in addition to the X Buster), so Zero has a newer, more versatile sword. Also like X5, the player can select two versions of X from the start (the standard version, and the Falcon Armor from X5), and there are secret armors for X and Zero to be found throughout the stages.
So far, that may not sound too bad, just a bit familiar. But where Mega Man X6 not only becomes a disappointment, but an embarrassment to its series is in its level design. Not all the stages are flat-out terrible, but at their best they’re still forgettable. Those stages that are terrible, however, will leave you scratching your head wondering how Capcom felt such levels were finished.
The eight bosses here are Commander Yammark, Blaze Heatnix, Ground Scaravich, Blizzard Wolfgang, Rainy Turtloid, Shield Sheldon, Infinity Mijinion, and Metal Shark Player. The names alone are cringeworthy, but as bad as lame as these characters are (except maybe Turtloid), their stages can be that much worse. Blaze Heatnix’s stage in particular is notorious for a tedious sub-boss which is recycled four additional times in the same stage. Do you think they were out of ideas?
Since its beginning, the Mega Man series has been known for its difficulty, but X6 seems to be a parody of this aspect of the franchise, with numerous moments that feel outright unfair out of incompetent game design. Some sections feature blind jumps that – should you jump too far – could send you plummeting into the series’ infamous one-hit kill spikes. There are multiple instances of enemies and projectiles bombarding you from all directions, apparently forgetting this is a platformer and not a bullet-hell game. And one particularly arduous moment in Blizzard Wolfgang’s stage sees the player robbed of the series’ wall-jumping ability as you’re trapped in a pit, waiting for ice blocks to fall to create a way out. That may actually be interesting, except that should you get stuck in between two stacks of ice, you have no means of escaping except slowly awaiting death by means of the falling obstacles (on top of the ice blocks, fire balls and robot wolves are also falling on you).
Perhaps none of the stages are as poorly designed as those of Gate’s Laboratory itself. The very first of which features a series of spiked walls that are next to impossible for X to overcome without his secret armor, and should you decide to pick Zero to use his abilities to maneuver through the stage, it ends with a boss who, in turn, is next to impossible to defeat with Zero. There’s a difference between making a game challenging, and simply stacking one insurmountable odd after another on the player and calling it a day. Mega Man X6 apparently didn’t get that memo. I’ve played trolling stages in Super Mario Maker that are less infuriating.
There are, however, two aspects of Mega Man X6 that are enjoyable: The first is that it builds on two aspects of the past two X titles by putting them together. Like X5, you can equip X and zero with different abilities, which are now unlocked by rescuing Reploids scattered throughout the stages. X5 had players simply select abilities after completing a few stages, while X4 and X5 featured savable Reploids who merely granted extra health or lives. By combining the concepts, both features feel more worthwhile, and create a better sense of progression.
There’s even a little twist to the proceedings in that robot ‘Nightmares’ can possess the Reploids before you rescue them. It’s an interesting concept, but one that’s utterly ruined by the fact that once the Reploids are corrupted by Nightmare, you’ve missed out on them for your whole play through. There are no second chances. So if you want every Reploid and item, you’ll often have to reload your previous saves.
The other highlight of Mega Man X6 is its soundtrack. While it may not reach the heights of the scores of X, X2, or even X5 (let alone the main series), the soundtrack of Mega Man X6 still creates a number of catchy tunes that encompass a wide range of styles. Even Metal Shark Player’s stage is livened up with its Terminator 2-esque music.
While the music may be a highlight, the same can’t be said for the visuals. The backgrounds still look as sharp as they did in X5. But many of the character sprites look downright unfinished, with some of the Maverick bosses seemingly lacking animations (I’m looking your way, Infinity Mijinion). Sure, X and Zero look great, but that’s because they’re the same as they were in X5. The Mavericks, on the other hand, often look rushed out the gate.
It’s kind of amazing to think just how far the Mega Man X series fell from grace. The first X breathed new life into Mega Man, the second one matched it in many ways, while the third was a solid follow-up. X4 may have been a bit familiar, but the appeal is still there. Hell, even X5 isn’t a lost cause. But then comes Mega Man X6, the first entry in either of Mega Man’s two primary side-scrolling series that stumbles more than it strides. The character progression and music are still fun, but the level design ranges from mediocre to disastrous, more or less screaming the game’s rushed development through a megaphone. Its lack of polish is embarrassing.
*Review based on Mega Man X5’s release as part of Mega Man X Legacy Collection 2*
Capcom certainly knows when they have a good thing on their hands. Unfortunately, they don’t always seem to know when they have too much of a good thing. The original Mega Man X was a brilliant twist on the classic franchise, and X2 was a worthy follow-up. X3 was still a solid successor, but by the time we got to 1997’s X4, things got a little redundant. This was more than a little ironic, considering the first X was created to reinvigorate the Mega Man franchise, after the original series had grown a little fatigued in the NES days. After a much-appreciated two-year hiatus, Mega Man X returned in 2000 on the Sony Playstation with Mega Man X5, which was originally intended by producer Keiji Inafune to be the finale of the X sub-series. While the game’s story definitely has a feeling of finality to it, its by-the-books and often questionable execution made sure the X series would continue for three more entries. Though the series may have been best left with its original trilogy, Inafune was probably onto something when he wanted X5 to wrap things up. The series had simply run out of steam.
That’s not to say that Mega Man X5 is innately bad, it’s just very, very uninspired. The formula is the same as ever: choose between the eight different Maverick levels, defeat said Mavericks and gain their powers to use against other Mavericks, defeat all eight bosses to unlock the final set of levels. The big difference here being that you can choose between X and Zero at any time between stages, as well as a suited-up version of X with all the upgrades he got throughout X4! Once again, X is long-ranged, while Zero uses a sword.
A light RPG element is also in place, with the player able to choose different bonuses for the characters after a set number of stages are completed, with those bonuses being equipped on the level select screen. Despite the upgraded X being playable from the start, there are still secret upgrades to find – for the brand new Falcon and Gaia Armors – which are thankfully better hidden than they were in X4. The difference here is that none of the armor pieces take effect until their entire sets are found. A huge downside to these new armors, however, is that Zero can’t equip them. If Zero collects an armor piece, he just gathers it for X to use later.
The stages themselves are short and simple, and the eight Maverick bosses are pretty forgettable (only being notable for the references to Guns ‘N’ Roses in their naming upon the game’s western release, though that aspect has been removed in the Legacy Collection in favor of more direct translations of their Japanese names). There is still some fun to be had with the Mega Man formula, to be sure. But Mega Man X5, more so than any of the main series entries, screams ‘been there, done that’ at almost every turn.
As stated, there is a bit of finality to the story here. Sigma has been resurrected for the umpteenth time, and throws a fight against X, allowing his current body to be destroyed and the ‘Sigma Virus’ to scatter across the world to every Reploid, which will slowly turn them Maverick (why the virus spreads after this defeat and none of Sigma’s previous defeats, I’m not sure). At the same time, Sigma’s new right-hand man, Dynamo (a bargain bin version of Bass from the main series), has sent an entire space colony on a collision course with Earth, which will wipe out most of the planet’s life – human and Reploid alike – should the collision take place.
Mega Man X5 at least tries something new with its story, giving the player a set number of ‘hours’ before the space colony hits Earth (each stage or story segment saps away an hour or so in the game’s story). But what’s baffling is that this is a game that features multiple branching stories and endings, yet the player has little control over which way it goes.
The Maverick Hunters have two countermeasures to Sigma’s plan: a shuttle that can be used to crash into the colony, and a giant laser to blow the damn thing to smithereens. Naturally, both the laser and shuttle are split into four pieces each, with each of those pieces being in the hands of the eight Maverick bosses. Though the player can choose the stages at their own leisure and claim the pieces however they like, whether or not either the laser or shuttle destroys the space colony is all up to random chance. So the story has multiple outcomes, but without the player having any say-so which direction it goes. Though the callbacks to both previous Mega Man X titles, as well as the original series, are a nice touch.
If there is one absolutely unforgettable aspect of the series’ newfound emphasis on story and plot, it’s that the dialogue boxes of Mega Man X5 just don’t stop. One character in particular, Alia (your basic source of tutorials and exposition) will call either X or Zero non-stop to tell them the most obvious mechanics or plot threads. She’s basically Skyward Sword’s Fi before Skyward Sword’s Fi existed.
It is sadly not an exaggeration when I say there are instances where a stage will begin with a bombardment of dialogue boxes, at which case the player walks a few steps before they’re assaulted with even more on-screen text. What’s worse is that she’ll even explain – in excruciating detail – the very basics of the series. Remember that this is the fifth entry in the X series, and that they all follow the same basic structure of the original Mega Man series, of which there were eight at this point, and X5 of all entries has more emphasis on tutorials and explanations than any previous entry.
Another downside to X5 is that it’s just too easy… except when it isn’t. For the most part, this is the easiest Mega Man X title up to this point (which may be more forgivable if the level design were more creative, as was the case with the fifth entry of the original Mega Man series). Perhaps the more frequent checkpoints and having your powers refill to maximum after each death aren’t the worst changes, but the level design itself is just too much of a cakewalk to what you would come to expect from Mega Man at this point.
Of the eight main stages, only one of them provides a steep challenge. Even then it’s only because its opening segment features a high-speed motorcycle section. The irony here being that this stage features a change in gameplay (which you’re immediately thrown into, no less), and yet it’s just about the only section in which Alia doesn’t feel the need to explain things. Besides this, only the Sigma levels at the end of the game provide any real difficulty, but by that point you’re so accustomed to the easier gameplay that the extreme spike is kind of jarring. But I guess the homages to end-game bosses from the first games in both the original and X series are another nice touch of nostalgia.
Visually, X5 is an improvement over its predecessor. The early 3D backgrounds of X4 are replaced with much more appealing 2D environments, while the character sprites are even more detailed and polished than before. Though on the downside of things, only the intro video retains the anime style of its predecessor, with the rest of the cinematics being static images with, you guessed it, text boxes. Sure, the voice acting of X4 was pretty bad, but resorting to more text boxes seems like a big step backwards in production.
Perhaps the biggest highlight of Mega Man X5, however, is its soundtrack. While one expects Mega Man music to be good, it seemed like each subsequent X title’s score wasn’t quite as good as the last. But with Mega Man X5, the soundtrack seems to be back on track. The tunes may not be as iconic as those of the original series or the first X title, but it’s a big improvement over the past few entries, and even seems to dabble in more styles than its predecessors as well.
Mega Man X5 may not be a bad game in the usual sense of the term, but it does feel like it’s simply going through the motions, with very little heart going into the effort. It’s capable of providing some good fun, it still looks great, and sounds even better. But if you’ve played any Mega Man game before, you know the drill by now. Even when the original series began to phone it in, the level design was still clever, but that sadly can’t be said for Mega Man X5. And even when X5 does start to pick up, you’ll probably be stopped in your tracks by in-game text. Because being forced to stop to read that a rock is immediately in front of us is exactly what we want in an action side-scroller, right?
*Review based on Mega Man X4’s release as part of Mega Man X Legacy Collection*
1997 was a big year for Mega Man. Not only was the Blue Bomber turning ten-years old, but he celebrated a decade of gaming by properly transitioning into the 32-bit generation (after ports of X3 dipped its toes in the waters) and did so with a multitude of titles. The original series received the underappreciated semi-classic Mega Man 8, and the year also saw the Japanese release of Mega Man Legends, the series’ jump to 3D. Of course, the Mega Man X series was also quick to jump in on the action, delivering its fourth installment in as many years. While Mega Man 8 tried to change up its series’ level structure, and Legends began a whole new side to Mega Man, X4 simply felt like more of the same. It may not be a bad game per se, but if Mega Man X3 raised concerns that the X sub-series – which was originally created to revitalize the franchise – was quickly running out of steam, then X4 confirmed those very concerns.
If there’s a notable change made to the Mega Man X gameplay with X4, it’s that Zero is finally a playable character! Sure, you could play as him in small doses in X3, but here, you can play through the entire game as Zero. In fact, if you want to see the whole story, you have to play through the game twice, once as Mega Man X (or simply ‘X’), and once as Zero.
The key difference between the two characters is that X retains the classic mega buster, making him long-range and easier to play as, while Zero uses a close-ranged laser sword, and is a little trickier to get used to. Additionally, while X once again gains a new power after defeating a boss, Zero instead gains a new move, meaning that he executes them with different button combinations, as opposed to switching into different modes like X.
On paper, that may sound like a pretty big deviation for the series, unfortunately, the level design is more basic and straightforward than the past three X titles, making the change not mean a whole lot. The hidden collectibles are fewer and, quite frankly, not nearly as well hidden (the past three games often required X to revisit completed stages with new powers to find one of his upgrades. X4 features one upgrade where you literally just have to walk to the right before you continue down a vertical path. It’s a telling example). There’s just so little newness to the stage concepts that they end up feeling really forgettable. This is a pitfall that may have been avoided if they at least retained the depth of their predecessors.
That’s not to say that there isn’t any fun to be had. The core gameplay is still solid, and a couple of stages have their moments (particularly those of Cyber Peacock and Jet Stingray). And again, the ability to play through the game as Zero is a nice bonus. The problem is just how safe the game is. X4 retains enough of the polish in Mega Man’s gameplay to keep things fun, but as a whole the game feels incredibly phoned-in.
On the bright side of things, the visuals have held up decently well. Though the game was derided on its 1997 launch for being a side-scroller on the Playstation (90s video game criticism, ladies and gentlemen!), that simple factoid has made it more visually appealing in the long run than the more ‘ambitious’ 3D games of the time. Sure, the backgrounds lack the timeless charm of the SNES Mega Man X titles, but the character sprites are still detailed and fluid. And being Mega Man, the music can get pretty catchy (even if it’s far from being among the better soundtracks of the franchise).
Mega Man X4 was also notable for including some fully animated, anime-style cutscenes. This technique was also used in Mega Man 8, and just like that game, X4 is notorious for the quality (or lack thereof) of its voice acting. But whereas Mega Man 8’s voice acting is on the ‘so bad it’s good’ side of things, the voice acting here in X4 might simply constitute ‘bad.’ Still, the animation has that nice, rougher 90s anime look to it, so the cinematics have their appeal.
Of course, there wouldn’t be cinematics without much story, and unfortunately, this is another area where X4 displays early signs of the series’ fall from grace. This marked the beginning of the Mega Man X series’ heavier emphasis on plot. While the 32-bit era was when video games became more story-oriented, and perhaps that is to be expected here as well, the fact that Mega Man X4 features so little new ideas in its gameplay does make you wish Capcom had focused less energy on the story and prioritized making a more original game.
The story here takes place sometime after the events of X3. The Reploids (sentient robots) now live in harmony with humans, after the Mavericks (evil Reploids) had been defeated not only by Maverick Hunters like X and Zero, but by a new army called the ‘Repliforce’ as well. After a flying fortress crashes down on a city and kills many humans and Reploids alike, Repliforce ends up being a prime suspect in the attack, and they themselves become dubbed Mavericks, and rebel against humans for the sake of their own freedom. X and Zero get caught up in it all, of course, and soon the threads of the plot begin to untangle, and it really shouldn’t be any surprise who’s behind it all.
The plot just kind of drags things down, though there is a nice little touch with the eight Maverick bosses getting little descriptions when their stage is selected and introductions when you reach their boss room. Perhaps the worst aspect of the story, however, is how Zero’s mystique is completely stripped away. No longer the mysterious leader of the Maverick Hunters whose motivation is ensuring peace between humans and robots, Zero now comes across as a generic, love-struck anime pretty boy, with love taking over as his motivation. The object of this love is a female Reploid named Iris who, quite frankly, is a rather uninteresting character. She more or less fills the quiet, dough-eyed, “cheering from the sidelines with hands clenched together” anime archetype. How cliched can this all get?
Still, ignoring the overly familiar elements and over-emphasis on a bland storyline, Mega Man X4 isn’t dead on arrival. It may, however, be the X series’ last breath. There’s still enough left in the tank for Mega Man X4 to provide some solid fun for fans of the series – even if it isn’t half the game X3 was, let alone X and X2 – but it’s those same fans who will probably be able to pinpoint all the things X4’s predecessors did better. If you’ve played any of the previous Mega Man X games, you know exactly what to expect out of Mega Man X4. Actually, you might need to expect a little bit less.
*Review based on PaRappa the Rapper’s release on PS4 as Parappa the Rapper Remastered*
First released on the Sony Playstation in 1997, PaRappa the Rapper is considered the first rhythm game, a genre that would later see success in the 2000s with series like Guitar Hero and Rock Band. Although PaRappa the Rapper shows its rough edges as a genre’s starting point – with some frustratingly inconsistent mechanics – its charm and originality still stands out among many of the games it inspired.
PaRappa is a rapping dog trying to impress his crush, a sunflower girl named Sunny Funny. In trying to win Sunny’s affections, PaRappa goes through a series of misadventures like learning Kung Fu, getting his driver’s license, and learning to bake a cake. The catch? All of these endeavors are performed via rap, with PaRappa following the lead of his mentors in every task.
The game is played through six stages (only the first three on easy mode), with players repeating the instructed button presses at the right time with the melody of each stage’s song. Though players are given some leeway to “freestyle” when a star shows up in between button commands.
It’s very basic rhythm game material, but considering PaRappa pioneered the genre, that’s to be expected. There are a few key issues with the gameplay that expose the genre’s infancy in PaRappa the Rapper. Notably, the accuracy of your button presses with the commands seems to fluctuate without warning from one stage to the next. By definition, you’re supposed to press the corresponding button when your icon passes over its displayed command. But in some stages, you seem to lose points unless you press the button just before their cue. The aforementioned baking stage seems especially finicky with the timing of its song. Another downside is that the free styling mechanic seems poorly implemented, as you can get more points for simply spamming the last cued button, and often seem to get punished for getting creative with your button presses when you’re given the freedom to do so.
This lack of polish is relatively forgivable, given the title’s nature as a genre first, but it doesn’t exactly change the fact that it has quite the hurdle when it comes to standing the test of time. Though on the bright side of things, the songs themselves are very fun and catchy. And while the idea of a game about a rapping dog may sound like a desperate attempt to be hip with the kids in the vein of Poochy from the Simpsons, PaRappa the Rapper is genuinely cute and aims more for humor than it tries to be cool, which means the title has actually aged well in terms of personality.
That personality may just be PaRappa the Rapper’s biggest strength. Each song is given a distinct style and sense of humor (hold on, the driving instructor forgot to close the car door during a driving test?!). The game also utilized a unique art direction in which all the character models are paper thin amidst 3D backgrounds. So while the likes of Guitar Hero and Rock Band may boast a wide range of beloved songs, their stock ‘rock and roll’ character models can’t hold a candle to the charm of PaRappa’s rapping dogs, reggae frogs and onion-headed kung fu masters.
The remastered version of PaRappa the Rapper looks surprisingly sharp. Perhaps the art style made its transition easier, but the game looks incredibly clean and smooth, and looks right at home on the PS4. That is, it looks that way during the stages. The game’s cutscenes barely look touched up from their original PSOne appearance, and can be a little bit of an eyesore.
PaRappa the Rapper is a game that deserves a boatload of credit for how it properly launched the rhythm genre as we know it, and for its winning sense of charm. Unfortunately, its pioneering status is a little bit of a double-edged sword, as it can definitely feel like the first of its kind at times, with an unpolished nature that often leaves the controls feeling imprecise. When a game is all about the timing of button presses, that can be a frustrating detriment. And the fact that there are only six stages (each of which can be beaten in a few short minutes) and a lack of different modes means that there’s not a whole lot of replay value to be had.
Time may not have been overly kind to little PaRappa, but the game’s influence and charm are still strong enough to make it worth a look for fans of the rhythm genre. Here’s hoping PaRappa can make a comeback tour in the not-too-distant future.
It’s hard to think of a better game with more humble origins than Undertale. The brainchild of Toby Fox was a passion project in the medium if ever there were one, with Toby Fox almost singlehandedly creating the entire game; from its premise to graphics to gameplay, to its sublime soundtrack, with only some of the artwork being provided by others. Taking inspiration from Nintendo RPGs EarthBound, Mario & Luigi, and Super Mario RPG, Undertale not only did a fantastic job at living up to its inspirations, but also in creating an identity very much its own. By providing an engaging battle system, a unique sense of humor and charm, and a narrative that could only work in the video game medium, Undertale subverted many RPG traditions and became a video game masterpiece.
In Undertale, players take control of a human child, who has fallen into the dreaded Mt. Ebot, whose underground has served as the world of monsters ever since they were banished there by humans long ago. A magic barrier prevents the monsters from leaving the underground, and only the power of human souls can break it. Because of this, many monsters want the human dead, as their king is but one soul short of destroying the barrier. But these monsters are far from mindless killing machines, in fact, most would rather tell you a joke or show off their hat than do you harm.
In their quest to leave the underground, players will confront many monsters. During such encounters, the player can go the usual RPG route and slay the monsters, gaining experience points and leveling up along the way, or they can find non-violent ways to end the encounter. By selecting the “Act” command during battles, the player can interact with monsters in a myriad of ways, with each individual monster having their own distinct personality that the player must figure out in order to find the best solution to the encounter. If you can figure out the right action (whether it be dancing, flirting, or even giving a monster personal space), you can then simply spare the monster, which won’t net you any experience points, but will still provide gold.
Interactivity is added to these turn-based battles when the player is on the defensive. Every enemy has their own unique attacks, with the defensive segments modeled after bullet hell games. During a monster’s attack, the player takes control of their soul (represented by a heart), which the player must then navigate to avoid oncoming projectiles. White enemy attacks are the standard, and are simply to be avoided. Blue attacks won’t harm you so long as you hold still, while orange attacks will require you to move through them to avoid damage. Meanwhile, the occasional green attack will actually heal the player’s health, leaving you to attempt to grab them amid the bombardment of other bullets.
The battle system is an utter delight. The ability to fight or act is already a terrific innovation, but by combining it with the only interactive turn-based battle system that rivals Mario’s finest RPGs, Undertale’s battle system becomes an all-time great for the genre.
That isn’t where Undertale’s innovation ends, however. Arguably its most notable element is how detailed its narrative is, and how it brings out the best in the video game medium.
There are many games that give players different moral options with tackling different scenarios, but none that really showcase the consequences of their actions in any meaningful way. Usually, choosing good or evil in a video game simply dictates whether your character is surrounded by a heavenly aura, or if they have burning red eyes while wearing edgy, black clothing. But every choice the player makes in Undertale leaves a lasting impact one way or another.
The benefits of gaining experience points and leveling up are obvious, as you’ll gain more health and strength the more you advance. But when you kill a monster in Undertale, you may come across another who grieves for their fallen friend, or wonders why they don’t hear from their old buddy anymore. This of course means that going the route of a pacifist may be more challenging – as your stats remain as they are at the start of the game, outside of armor – but doing the right thing becomes its own reward.
I will refrain from going into greater detail, as Undertale’s narrative is one that’s full of surprises. But the way in which it tells its story – with every moral action having its consequence – is entirely original, and may now serve as the benchmark for how to tell a deep, meaningful story in a way only a video game can.
Even with the emotional weight, Undertale is also an incredibly funny game. As stated, each monster has their own unique personality, with the boss monsters easily becoming one of the most charming cast of characters in a video game. Much of the dialogue is laugh-out-loud hilarious, and the sheer absurdity of many of the characters is sure to leave a goofy grin beaming across your face.
Visually speaking, the game may not exactly look ‘pretty’ – being reminiscent of a later NES title – but it does look timeless. The fact that Toby Fox could capture as much personality in the game visually as he did with his writing is an impressive feat unto itself. Undertale’s greatest aesthetic pleasure, however, has to be its soundtrack.
Undertale’s score – composed, of course, by Toby Fox – is one of the all-time great video game soundtracks. It marries the infectiousness of retro video game music with an impeccable sense of personality. The overworld tunes are often hauntingly beautiful, while the battle themes are catchy, and each boss is given a track that’s nothing short of unforgettable. Undertale’s soundtrack is perhaps rivaled solely by Donkey Kong Country: Tropical Freeze for the best of this decade. And as far as I’m concerned, it joins the likes of Donkey Kong Country 2 and Super Mario RPG as one of my favorite gaming soundtracks of all time.
Some may nitpick at the fact that Undertale is a pretty short game, especially for an RPG. But that seems like a moot point when one considers that Undertale is one of the few games that feels like a fully-realized artistic vision by its creator. Everything that is present in Undertale is nothing short of delightful. It’s unique, charming, funny, touching, and a whole lot of fun.
When Toby Fox created Undertale, he molded his game after some all-time greats in the RPG genre. Little did he know that his “little” game would end up sitting right alongside them.
Senran Kagura is exactly the kind of series I can appreciate in this day and age, when political correctness has seemingly become an all-encompassing evil that seeks to dictate what creators can and cannot create, and in which people seem to actively want to be offended by anything and everything. Senran Kagura is unashamed, irreverent fan-service cranked up to eleven. Yes, Senran Kagura is juvenile, and about little more than its bosomy ninja cast tearing each others’ clothes off in friendly battles, but it’s so tongue-on-cheek and ridiculous, that you’d really have to have no actual concerns in life to seriously be offended by it. Frankly, if it weren’t for some of the language, I don’t see why this series should warrant the same maturity rating as a game that features gratuitous violence or sex.
But again, in such uptight times, I can appreciate something like Senran Kagura all the more. And quite frankly, the entries I have played – though flawed – are pretty fun. Most games in the series are combinations of beat-em-up titles and 3D fighters, but Peach Beach Splash changes things up by turning it into a team-based, water-gun and bikini-themed shooter. Think of it as Splatoon with a dash of Super Mario Sunshine… with lots of boobies.
To be honest, the gameplay and setup of Peach Beach Splash feels more appropriate for the nature of the series than its usual antics. At the very least, I know I’d like to see a water gun battle between these girls than a swordfight. But I digress.
Peach Beach Splash has a heavier focus on multiplayer than past titles, though single player campaigns are still present. The four usual ninja groups (Hanzo Academy, Homura Crimson Squad, Hebijo Clandestine Girls Academy and Gessen Girls’ Academy) each get their own campaign, along with a special fifth campaign that unlocks once the others are completed.
Each of the four standard campaigns sees you take control of that respective ninja group, and you can select whichever member of that group you want for any of the campaigns’ ten missions. Each individual campaign is shorter than the one found in Estival Versus, and are mostly used as a means to unlock different weapons and characters for multiplayer use, as well as costumes and other customizable features for the girls.
The campaigns bring some fun to the table, combining the series’ usual display of defeating hordes of enemies before taking on a team of opponents comprised of members of one of the other groups. Usually to win, you’ll have to defeat every member, which is done by squirting them with enough water that they fall to the ground. Once in a grounded state, a teammate may revive their fallen comrade, so that’s why you have to take them out of the battle by shooting off either their bikini top or bottom (don’t worry, convenient lighting knows just how to censor things).
Simply holding the square button is all it takes to revive a fallen teammate, and pressing square against an enemy is all it takes to enter the “finisher” screen, in which you manually aim a rubber duck to shoot off the girl’s bikini with enough water.
It’s as fun as it is juvenile and silly, with this gameplay carrying over to the multiplayer modes. Unfortunately, the single player campaigns still suffer from some of the shortcomings of past entries in the series. Namely, there are just way too many cinematics. Now, don’t get me wrong, I certainly don’t mind staring at these girls, but I can just as easily stare at them during gameplay. And while much of the characters and dialogue can be funny, you literally get a cinematic both before and after a mission. Sure, you can speed things up and skip dialogue, but these cutscenes are often longer than the missions themselves, and when you have to sit through one cutscene just to go to another one before the next mission, it gets a bit tedious.
It should be said that most of these cutscenes are also, once again, just the character models displaying a limited range of animations in front of static backgrounds. Sure, there are some hand-drawn anime and more animated CG cutscenes here and there, but for the most part, you sit through a large amount of cinematics that look virtually the same.
That’s not the only limitation either. Just as in Estival Versus, the hand-drawn cinematics expose limitations in the variety of character models. While the official character artwork displays the characters’ having a wide range of body types, the in-game models look almost identical, with just the heads swapped with a copied-and-pasted body. For example, Haruka and Katsuragi (AKA best girl) are a bit more… “amply gifted” than even the other girls in the series, their in-game models look no different than anyone else. You may say that’s a shallow complaint, but in a game that places such a heavy emphasis on the character designs, the characters’ in-game similarities do feel a bit lazy.
Aside from these limited aspects though, Peach Beach Splash is a mostly fun experience. The variety of characters (who each get their own melee attacks) and weapons mean there’s always a different way to play, and special assist cards – which grant different bonuses and abilities – add all the more variety.
The multiplayer modes are what will likely keep you coming back though. Whether it’s the team battles, queen of the hill, a co-op horde mode or capture the bra (yeah…), Peach Beach Splash gives you plenty of multiplayer options. And there always seems to be something new to unlock, whether it be costumes, weapons, or collectible in-game cards; so if you’re into one-hundred percent completion, Peach Beach Splash will keep you busy for a while. And if you simply want to look at the characters, there’s a dressing room mode where you can spend time with them… or so I’ve heard.
Senran Kagura: Peach Beach Splash certainly isn’t going to change the minds of people who, for some reason, find the concept of animated bosoms to be the most reprehensible thing on Earth, but if you’re a fan of the series, it provides a fun deviation from the usual gameplay. Even if you weren’t a fan of the individual entries in the past, Peach Beach Splash may be the change of pace you’re looking for in the series.
I hope Peach Beach Splash can get some kind of direct sequel down the road. With a bit more polish (and a whole lot less dialogue boxes), this Senran Kagura offshoot may just give Splatoon a run for its money.