I Has Pokemon Sword!

I now has (yes, has) Pokemon Sword version. Does Nintendo still use the terminology “version” to distinguish Pokemon games anymore? At any rate, this is cool not only because it means a new Pokemon adventure, but also because I have no more video games on pre-order for the rest of 2019! This, of course, means I will have ample time to catch up on my back catalogue, as well as my game reviews.

Sure, there are a couple of other 2019 games that look interesting, but I’m so inundated with games I’m just gonna have to stave it off for a while. Of course, Christmas is coming up, and if any of my more generous/bestest friends happen to be reading this, I’m perfectly fine with getting some games as gifts. *Hint hint wink wink*

Anyways, along with playing Pokemon Sword (what, you thought I was going to get Shield version? Is anyone getting Shield version?), I will try to catch up on other games from 2019 like Sekiro: Shadows Dies Twice and Astral Chain, along with some older titles. As for the near future, I’m hoping to review Luigi’s Mansion 3, Crash Team Racing Nitro-Fueled, Yooka-Laylee and the Impossible Lair and Mario & Luigi: Superstar Saga as soon as possible. That’s on top of some movie reviews as well, like Joker and Dojo Rabbit (I have no excuse why I haven’t reviewed them yet. Sorry). Also with It: Chapter 2 being released on digital platforms soon, I’ll (finally) get around to reviewing that duology. And of course, Frozen II is a must review for me, and hopefully I’ll have my review for the holiday special Olaf’s Frozen Adventure done before that.

I’ve reviewed most of the movies I’ve seen in theaters this year, with the exceptions of the above mentioned that I just haven’t got to yet (plus Judy. But I may wait to review that one until I get all these things done. No rush on that one). I’ve actually grown quite pleased with ow many movies I’ve managed to review that were released this year. Unfortunately it seems in regards to games, I was still buying more while I was still playing others. As a result, I haven’t finished a number of them and haven’t been able to review as many as I’d like. Here’s hoping these next few months give me the time to make up for lost time.

I’m really going to have to crank these out quickly in the coming days if I hope to stick to my plan of reviewing every Star Wars movie before The Rise of Skywalker releases in late December (sans Solo: A Star Wars Story, which I’ve already reviewed).

What am I going on about this again for? Didn’t I already ramble about this recently?

In short, with no more games on pre-order until Animal Crossing: New Horizons in March, it looks like I finally have a good window of time to catch up on things. And also yay Pokemon and all that!

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The Obligatory “Coming Soon to the Dojo” Update for November 2019

Hey hey! It’s November…already. Did everyone have a happy Halloween? I know I did, even if I unfortunately didn’t manage to have a costume this year (I ordered a custom-made one, but did so too late, so I’m still waiting for it to arrive… there’s always next year).

Apologies that I once again failed to write a Halloween-centric top 5/10 list. I liked doing those back during the Dojo’s first two Halloweens. Hopefully next year I can go all out with the Halloween goodies. On the plus side, I did review the original Luigi’s Mansion to celebrate Halloween, so I didn’t leave the Dojo un-festive for the season. I would have liked to review Luigi’s Mansion 3, but Nintendo decided to release it on the day of Halloween. I guess I can understand what they were going for, but my beef is that Nintendo kept marketing Luigi’s Mansion 3’s release as being “just in time for Halloween.”

Releasing a game on Halloween is not “just in time” for Halloween. Releasing it any time in October before the 31st would be “just in time” for Halloween. Releasing it on Halloween is just that, releasing it on Halloween!

In short, I reviewed the first Luigi’s Mansion for Halloween due to the timing. Though I suppose now I’ve reviewed all the existing Luigi’s Mansion games so far (including the arcade title), so I guess now my review for Luigi’s Mansion 3 will feel all the more complete when it’s done.

Man, how many times have I already said “Halloween” and “Luigi’s Mansion” in this post?

Talking of Luigi’s Mansion (for the umpteenth time), I picked up my copy of Luigi’s Mansion 3 today. So I’ll do my best to review that in the near future, along with the following games that I’m ready to review…

Crash Team Racing Nitro-Fueled

Mario & Luigi: Superstar Saga + Bowser’s Minions

Yooka-Laylee and the Impossible Lair

And of course, another Wario title sometime this month, as has been my 2019 tradition for no particular reason whatsoever.

In addition, I hope to get around to finishing Sekiro, Astral Chain, Ni no Kuni Remastered, and Mario & Luigi: Bowser’s Inside Story + Bowser Jr’s Journey in the not-too-distant future.

The good news is now that I have Luigi’s Mansion 3, I only have two upcoming games on pre-order, the smallest amount of pre-ordered games I’ve had in years. And one of those games is Animal Crossing: New Horizons, which doesn’t come out until March. So it looks like I have a good window of opportunity to catch up on games and review them.

This of course brings me to another point. I mentioned in a post at the earlier part of this year that I’m planning on purchasing fewer games in the future. Certainly not because I’ve lost any love for them (technically speaking, they’re probably better on the whole now than they’ve ever been), but because they’re too damn long and too damn expensive. And I have other things I have/want to do with my time, and I don’t want to be reduced to eating cold beans with a stick. Plus, remembering how in my youth there would be a handful of games I would replay for years, I would kind of like to rekindle that quality over quantity approach. Getting games that I’ll want to play over and over, as opposed to ones that demand me to surrender entire days’ worth of time to them.

Although I kind of caved and bought more games this year than I initially intended, I did buy fewer games this year than the past few years. But next year, I’m really going to try and aim for like four or five full-priced retail games for all of 2020 (once again, there could be exceptions if a game I’d know I’d have to get – like a Super Mario Galaxy 3 or Bloodborne 2 – was announced for an imminent release after I’ve reached my self-imposed limit. But those are quite the exceptions).

As I’ve stated to the point of it becoming a running joke here on my site, I would like to further my studies of video game development, as to develop my own game(s) someday. And I would also like to do something video game related in video form at some point. So even though fewer new purchases would mean fewer reviews for contemporary games, I would still use this site to catalogue my game development progress, and post/link whatever videos I may make here as well.

Because video games have become such an investment and commitment, I have to limit myself if I want to seriously delve deeper into my creative outlets. But don’t worry, I still have plenty of retro games in my library I can review in-between reviews for 2020 releases (I also have a few games from a recent history that still need reviewing, key among them being Persona 5).  And even though I may be reviewing less new games, I could always write other types of blogs about the ones I’m playing (again, if I play a game I can keep going back to, why not find new things to write about them?).

Basically, I’m writing this post to reiterate things I’ve written here before… This site ain’t going anywhere, but reviews for new video games will unfortunately have to slowdown. On the plus side, that will open up my time not just for game development and video shenanigans, but also more time for movie reviews and those long-promised, oft-delayed top 10 lists. Hopefully this also means I’ll write less filler posts like this one…

Speaking of movie reviews, I have a few of those planned for the near future as well. Though I have an extensive checklist of reviews I hope to get to at some point, for the rest of November and December I will prioritize movies I’ve seen in theaters, and older movies that relate to them (and by that I mean the entire Star Wars saga in preparation for The Rise of Skywalker). I really have no excuse why I haven’t reviewed Joker yet. And since I’ve seen It Chapter 2 and Maleficent: Mistress of Evil, expect reviews for those movies and their predecessors as well. I also really want to review all four Mad Max movies, but I may just do the first one in the near future, then wait until after I’ve reviewed the aforementioned movies before I do the rest.

Also, Frozen II comes out in three weeks from today. Of course that’s one I’m going to review. But since I’ve already reviewed the original (which is one of my 10/10 reviews, by the way), I’ll review the short film/holiday special, Olaf’s Frozen Adventure before then (a short film which, generic title aside, was rather charming).

So yes, hopefully the remaining posts I write in 2019 will be these, and other, worthwhile posts. And hopefully this will be the last “here’s what I’m going to write” post for a while. 2020 may see some changes to what I write here at the Dojo to some degree, but hopefully you stick around and enjoy. And once again, happy belated Halloween.

Luigi’s Mansion Review

Nintendo was in an interesting place in 2001. Though the Nintendo 64 helped revolutionize gaming (namely due to Super Mario 64 and The Legend of Zelda: Ocarina of Time), its sales numbers paled in comparison to the Sony Playstation. And with the Playstation 2 releasing in 2000, it’s safe to say that the GameCube was in a hurry to get out the door as soon as possible. As such, this meant that the GameCube’s signature Mario game, Super Mario Sunshine, would miss the console’s launch, marking the first time Mario wasn’t present to cut the ribbon on the dawning of a new Nintendo console.

To fill that void, however, Nintendo had a separate game set within the Mario universe to make the GameCube’s launch. But it ended up being quite different from any other game set in the world of the Mushroom Kingdom. The game in question was Luigi’s Mansion, a kind of spoof on the survival-horror genre that marked the first official game in which Luigi received the starring role (wiseacres are quick to point out the existence of Mario is Missing from years earlier, but that title was an edutainment game that wasn’t developed by Nintendo, so it doesn’t count). Although Luigi’s Mansion never boasted the depth of Mario’s adventures, Luigi’s first proper solo outing nonetheless provided enough unique ideas and personality that it retains a charm of its own.

The initial concept for what would later become Luigi’s Mansion at first starred the more famous Mario brother, with the idea being to place Mario in a singular indoor setting. Originally conceived as a Japanese-style castle, the setting eventually became an American-style haunted house. With the change in setting, Nintendo decided to promote Luigi to be the star of the game for one very simple reason: Mario was known for being brave and adventurous, but now was the time to showcase Luigi’s personality, whose constance presence in his brother’s shadow made him easy fodder for a ‘reluctant hero’ character.

Though audiences saw glimpses of distinct personalities between the Mario Bros. through their television series and books, there was never any official, concrete characterizations between Mario and Luigi by Nintendo themselves in the formative years for the video game series. If Mario was the brave hero who would leap into action at the first chance, then it just made sense that Luigi would be the series’ ‘Cowardly Lion,’ as he shares a similar heroic spirit as his brother, but it’s buried far, far deeper. So it was a natural fit to have Luigi be the one to traverse a haunted mansion, facing his many fears as he tries to rescue Mario.

Luigi’s Mansion might be the first Nintendo game to be centered around one of their character’s personalities, and it remains one of their most successful attempts (the less said of Metroid: Other M, the better). Nintendo’s critics often deride the developer for a supposed “lack of character,” but that’s a gross misconception. While it’s true Nintendo rarely prioritizes actual storytelling and their characters tend to not have complex backstories (probably for the better. I again refer you to Other M), many of their characters are bursting with personality in a similar vein to classic cartoon characters like Mickey Mouse, Bugs Bunny and Popeye the Sailor Man. Luigi’s Mansion is a fine example of this. Between Luigi’s constantly chattering teeth (which kind of makes him look like Wallace from Wallace and Gromit), shaky knees, and nervous humming of the game’s catchy theme tune, Luigi’s Mansion showcases its lead character’s personality – while simple and exaggerated – to be thoroughly entertaining.

It simply wouldn’t have been as good if it were Mario braving the haunted halls of its mansion. The game and its lead character both benefit one another in such a way that you wish more of the story-focused games of today would attempt to replicate that connection, as to avoid the common pitfall of gameplay conflicting with narratives and character motivation.

Even with Luigi’s personality leading the charge, gameplay is still at the forefront of Nintendo’s designs. And although it shows its age in certain areas, for the most part, Luigi’s Mansion remains a uniquely fun and charming game even today.

As mentioned, the game is all about Luigi trying to save Mario, who has gone missing in the new mansion Luigi supposedly won in a contest he never even entered (red flag there, Luigi). The mansion is, of course, littered with ghosts. Luckily for Luigi, Professor E. Gadd – a lifetime researcher of ghosts – has been studying the mansion, and gives Luigi his ghost-catching vacuum, the Poltergust 3000.

Yes, the gameplay is more reminiscent of the 1984 Ghostbusters film than it is any of its Mario series predecessors (Luigi can’t even jump in the game). Equipped with only the Poltergust and a flashlight, Luigi traverses the mansion fighting ghosts. The flashlight will stun ghosts, exposing their heart, which allows Luigi to suck them up into the Poltergust.

One of the most fun things about Luigi’s Mansion is the act of catching ghosts itself. The player of course moves Luigi with the standard joystick. But Luigi aims the Poltergust and flashlight with the GameCube controller’s ‘C-stick.’ If a ghost caught in the Poltergust’s whirlwind changes direction, the player will have to accommodate and pull the direction opposite to that which the ghost is heading, occasionally cutting some slack so Luigi can avoid a potential hazard in his way as the ghost pulls him along the ground. Essentially, it’s like an elaborate fishing game used as a combat mechanic.

It’s simple fun with the standard enemies, but the real treat comes in the form of the “Portrait Ghosts;” unique mini-boss-like specters whom the mansion’s many chambers are built around. Each Portrait Ghost has different tells and weaknesses, and can provide real tests of endurance for the player.

The Portrait Ghosts are memorable not just for how each one provides their own little puzzle for the player to solve, but also in their personalities and design. Most of the Portrait Ghosts are more humanoid than what we usually see in the Mario universe (keep in mind this was sixteen years before Odyssey brought realistic-looking humans into the fold), and although it would be difficult to call the game truly scary, the Portrait Ghosts’ appearances do make the game feel appropriately spooky and (relatively) darker than the usual Mario title. The mansion itself could be considered a character in its own right, given its strong sense of place.

It may not match the combination of cartoony characters with a dark and dreary atmosphere of Donkey Kong Country 2, but Luigi’s Mansion is probably the only other game I can think of that warrants a comparison in that regard. Luigi’s Mansion’s eventual 3DS sequel, though arguably an improvement in certain respects, lacks the original’s sense of atmosphere and character.

Luigi’s Mansion could be described as a “Diet Metroidvania,” with Luigi gaining access to more chambers of the mansion as he continues to capture Portrait Ghosts. Though perhaps one of the game’s drawbacks is that it could have taken an extra page from the Metroidvania sub-genre and had Luigi (or the Poltergust, as it were) gain new abilities to access more of the mansion, instead of it merely being a case of defeating sub-bosses for keys. The Poltergust does gain the ability to emit fire, water and ice, but they unfortunately never get utilized in any substantial way.

Another fun aspect of Luigi’s Mansion is finding the many treasures hidden throughout the titular abode. While Mario is always grabbing coins, here, Luigi is on a quest for coins, pearls, dollar bills, gemstones and diamonds. Though gaining these riches does little more than effect your score at the end of the game, it still proves to be a fun diversion to see how much treasure you can collect.

The biggest complaint most people seem to have with Luigi’s Mansion is its short length. If you know what you’re doing, the game can be completed in about the time it takes to watch a movie. Luigi’s Mansion could have done with just a couple more hours of gameplay, as some of its ideas don’t meet their full potential with the little time they’re allowed to have. On the plus side, I suppose the game’s brief time makes it one of the few titles in the medium that can be seen as a holiday tradition with annual playthroughs (Halloween in this instance, obviously).

Luigi’s Mansion was one of the earlier Nintendo titles to feature a New Game Plus mode after completing the campaign. Unfortunately in both its Japanese and US release, the differences between the main game and New Game Plus are little more than some stronger enemies and a weaker Luigi. The PAL version of the game (released well after the other versions) rectified this somewhat by making the post-game version of the mansion mirrored and changing the locations of certain treasures, but even that only goes so far. So unless you missed out on some treasures, or just really want to beat your high score, there’s not a whole lot of reason to play through the “Hidden Mansion” mode.

The short running time of the campaign is unfortunate, but it’s not the game’s biggest issue. Though the GameCube has aged better than the Nintendo 64 on the whole, it’s earlier titles still suffer a bit from the same kind of technical hiccups that plagued its 64-bit predecessor. And Luigi’s Mansion is no exception.

Some of the controls feel a little clunky, particularly in regards to handling the flashlight in conjunction with everything else. The flashlight is turned on by default, and pressing the B button turns it off. You turn Luigi around and aim the Poltergust with the C-stick, and you suck up ghosts with a press of the R button. And while the flashlight stuns the ghosts, you have to stun them at the opportune time, or else they’ll disappear. It can feel a bit awkward to turn Luigi around and aim the Poltergust while holding the B button to keep the light off and then release it to turn the light on when the time is right, especially in rooms with multiple ghosts.

Along with the standard enemies and the Portrait Ghosts, the Mario series’ classic ‘Boo’ enemies show up as the primary baddies. While seeing these secondary foes get a promotion in the same vein as Luigi is nice, there are some issues with the Boos’ presence in Luigi’s Mansion. The game features fifty Boos hidden throughout the mansion. But unlike the other ghosts in the game, Boos ignore the aforementioned “fishing” aspects of the catching process, with Luigi simply focusing the vortex of the Poltergust on Boos to drain their hit points.

That may not sound too bad, and at first it isn’t when the Boos have less hit points. But once you you realize Boos can travel from room to room, and they start getting more hit points, thus giving them more opportunities to do so, it gets a bit tedious chasing a Boo from one room to another, and downright frustrating when they exit a room to go into the hallway and back again repeatedly. It’s also a bit disappointing that, despite the game claiming there are 50 Boos in the mansion to be captured, there are technically only 35, since 15 of them are automatically captured as part of a single boss fight.

Another note Luigi’s Mansion should have taken from Metroidvanias is the implementation of fast-traveling. The game can only be saved by talking to Toads (who are perhaps a bit too far spread out from one another), or after catching a Boo. While the Toads save your game, they don’t act as checkpoints. Every time you reload your game, or defeat a boss, or die, you start back at the foyer of the mansion. Although you can return to the foyer by scanning mirrors, there’s no means to fast-travel anywhere else in the mansion. As you might imagine, backtracking to different sections of the mansion can quickly feel arduous.

Though these aspect do show that the game has aged a bit, the core gameplay, along with its undeniable sense of character, have helped Luigi’s Mansion remain a fun and delightful experience nearly two decades later. It is perhaps the perfect launch game the GameCube could have hoped for (if maybe not the one it sorely needed), as Luigi’s Mansion echoes the console itself in many ways. The GameCube may not have been the success story Nintendo was hoping for in the Playstation dominated market of the time, nor is it one of Nintendo’s more iconic or innovative consoles. But it has a unique appeal of its own, a small-scale charm that’s aberrant  among Nintendo systems.

Just the same, Luigi’s Mansion – though far, far away from being one of the best games set in the Super Mario universe – remains a unique and appealing offshoot of Nintendo’s flagship franchise. We may not have realized it in 2001, but in hindsight, Luigi’s Mansion seems to have encompassed the GameCube’s place in Nintendo’s history right out of the gate.

 

7

Wario: Master of Disguise Review

The mid-to-late 2000s saw a new boom period for Nintendo, thanks to the successes of the Wii and the Nintendo DS, which introduced new innovations to gameplay and brought a much broader appeal to the video game world. The downside to this, however, is that these new gameplay ideas – like the Wii’s motion controls and the DS touchscreen – took some time for some developers to get the hang of. As odd as it may sound in retrospect, considering it became Nintendo’s best-selling system of all-time, the Nintendo DS had a particularly rough start, with its first few months on the market being starved of a title that justified its touch-based bottom screen.

As history tells us, the Nintendo DS did eventually find its groove and held onto its momentum. But even after the DS became a success story, there was still the occasional title that harkened back to those early days of the handheld, with games that stumbled trying to understand the hardware.

Sadly, such was the case with Wario: Master of Disguise. Despite being released in 2007, Master of Disguise felt more akin to one of the rougher DS launch games than it did one of the system’s gems post-Kirby Canvas Curse.

The 2000s were very kind to Wario. Along with some well-received Wario Land sequels, the anti-Mario found a newfound success during this time through the introduction of the WarioWare series. Though Wario Land was on a break during 2007, Master of Disguise looked to fill in the gap with a new Wario platformer. Whether it was planned to be a follow-up to Wario Land or a third cog in the Wario machine, Master of Disguise unfortunately failed to live up to either. Though not an all-out bad effort, Master of Disguise was just plagued by too many rough edges for it to live up to Wario’s legacy.

Similar to the Wario Land series, Wario: Master of Disguise sees the mustachioed villain don different forms in order to access different locations of the game’s various levels. Unlike Wario Land, however, Wario doesn’t gain these forms via enemy attacks or power-ups, but by the player drawing different symbols to switch Wario into one of his many disguises.

Wario’s default form is “Thief Wario” which allows him to jump higher than the other forms. There’s also “Genius Wario,” which allows our anti-Mario to see invisible objects. “Cosmic Wario” can shoot enemies with a laser gun. “Arty Wario” can draw large blocks that serve as platforms and can be used to press buttons that Wario can’t reach. And so on and so forth.

I like the idea of a platformer that has what are essentially permanent power-ups that can be switch to at any time. The problem with Wario: Master of Disguise’s costumes is in its execution. The earlier disguises use simple enough shapes to draw, like circles and checkmarks, but the later disguises are a little trickier. It’s not that the symbols themselves are particularly complex, but they often require pinpoint accuracy and precision in order for the game to recognize them. This is made all the trickier when you consider that you have to draw these symbols directly on top of Wario, as the rest of the screen is used to perform each disguise’s special ability with the touch controls.

What of the DS’s buttons? They’re used to move Wario around, same as the D-Pad. As you could probably guess, it feels a bit awkward, especially since jumping is performed by pressing up on the D-Pad (or X, the top button of the DS’s face buttons), which only ever feels clunky in anything but fighting games.

It just doesn’t make much sense. You have all these buttons, but all they do is move Wario, which the D-Pad already does. I can understand some of the disguise abilities being used with the touch screen (such as Arty Wario’s ability), but the game would have flowed a lot smoother if just some of Wario’s moves were mapped to the buttons. In case you’re wondering, yes, even Wario’s traditional charge attack is performed by tapping the touchscreen (while in Thief Wario form).

I have to repeat that, between the small amount of available space to draw the symbols, and how unresponsive the touch controls can be, it all becomes a bit of a mess. You’ll perform abilities when you’re trying to change costumes, switch to a disguise different from the one you wanted, or just fail to do anything. A few of the abilities – or just switching costumes – utilizing touch controls would be fine, but Wario: Master of Disguise is far too reliant on them. And seeing as they aren’t all that refined, the touch controls become all the more troublesome.

Wario: Master of Disguise faces other unfortunate problems as well. Though  previous levels can be replayed after gaining new disguises, thus opening up more areas of said completed stages, the level design is so convoluted you may not be too enticed to do the backtracking. While each level can provide some fun platforming, and even feature their own distinct goals, the layout of the stages is often cryptic and confusing. It can get so bad that I found myself stuck for over an hour and a half on some levels, just because it was so vague as to what I was supposed to be doing.

The ultimate goal of the game is to claim treasures hidden in chests throughout the stages. Unfortunately, even that simple premise is made more complicated than it needs to be. Every time the player opens a treasure chest (by, you guessed it, tapping the touchscreen), they are thrown into a touch screen-based mini-game. These aren’t the fun and creative mini-games of WarioWare, either. Instead, you get generic mini-games that you could have played in any of the DS’s launch titles, such as panel flipping and line tracing. Should you lose the mini-game, the treasure chest threatens to damage Wario with bombs. But after the bombs explode, you can just try again anyway, so what’s the point of having the penalty at all?

Another issue with Master of Disguise – as odd as it sounds – is its story. Now, this is a Wario game, so of course the story is ludicrous nonsense. That would be par for the course on its own, but the game just spends way, way too much time with the story.

Basically, Wario is watching TV and sees a show about a master thief named Count Cannoli. Knowing he could do the thief’s job better, Wario builds a helmet that allows him to travel into the TV show, in order to show the thief how it’s done (raising the question as to why Wario doesn’t just patent his miracle technology to earn a fortune). Wario ends up stealing the thief’s magic wand (which allows Wario to transform into his various disguises), and both Wario and Count Cannoli engage in a competition to retrieve pieces of a “Wishstone” that, when completed, will grant them a wish.

Normally, I’d be fine with Wario having such an insane story as traveling inside a TV show and altering that show’s ‘reality.’ But again, Master of Disguise, perhaps more so than any other Wario game, emphasizes this story. Not only does this mean barrages of overly-lengthy, flow-breaking text bombard the player at almost every turn, but what should be a delightfully weird plot just ends up raising confusing questions. If this wishing stone exists within the TV show, would a potential wish made by Wario only become reality within the TV show? Or would it affect Wario in his reality as well? I know I shouldn’t be overthinking the plot in a Wario game, but with how much emphasis Master of Disguise gives its plot, and the aforementioned quirks in gameplay preventing it from distracting from said plot, it gets kind of head-scratching.

Wario: Master of Disguise has some merit. The concept of switching between permanent power-ups is a nice change of pace for platformers, and it’s kind of surprising Nintendo hasn’t revisited the idea. And the music is surprisingly good. But the insistence of the touch screen controls, which aren’t even reliable, really hinders the game. As does its convoluted level design and flow-breaking storyline.

Thankfully, 2007 also saw the release of WarioWare: Smooth Moves on Wii, with the next year also seeing Wario Land: Shake It! arrive on the same platform, so Wario still had his tried-and-true series to rely on and recover. But Wario: Master of Disguise is so mishandled in execution it may rank as the weakest outing from Nintendo’s garlic-munching anti-Mario to date.

 

3

Untitled Goose Game Review

Though video games have always been an art form, such a concept being embraced has only been around for a bit over a decade. Since the mid-2000s, many games have come along to attempt to “legitimize” the artistic merits of video games, usually by replicating Hollywood-style cinematic and storylines. Despite their best efforts, such “art games” are rarely the ones that showcase the unique artistic merits of video games. More often, it’s the titles that fully embrace their video game-ness that make for the best examples of ‘games as art.’ And that sometimes includes titles which are unabashedly silly, and want little more than to put a goofy grin on the player’s face.

The brilliantly titled Untitled Goose Game, by indie developer House House, is one such game. Though it may lack in depth and substance, Untitled Goose Game delivers a pure and simple gameplay experience that is consistently fun, and should get a good laugh out of even the most jaded player.

Joining the likes of recent indie titles like Donut County and The Haunted Island: A Frog Detective Game, Untitled Goose Game is all about the laughs, and even shares a similar, cartoony art direction as those games. Though with all due respect to both Donut County and Frog Detective, Untitled Goose Game is a bit more fleshed out as a game.

As the (un)title suggests, Untitled Goose Game is all about a goose. Now geese, as we all know, is nature’s jerk. Hostile, aggressive, and prone to obnoxious honking, the goose is one foul fowl. As such, the goal of Untitled Goose Game is quite simple: be a jerk.

Yes, that’s all there is to it. The game showcases a day in the life of the Goose, who has made a checklist of different means to mess with people throughout the day. It’s the player’s job to make sure the Goose checks off all of its nefarious deeds to ensure a productive day.

The game is separated into five segments, which can be viewed as ‘chapters’ or ‘levels,’ though the transition between them is seamless as part of a single game world. Each segment has its own checklist for the Goose to complete, with one item on each list requiring the Goose to collect various items. Once all but one of the items on a given checklist are complete, that segment’s final item unlocks, and upon completing that, the Goose gains entry to the next segment.

These tasks include but are not limited to: Honking just as a man is hammering a signpost into the ground so that he smashes his thumb, scaring a kid to run away and lock himself in a phone booth, moving a chair just as an old man is about to sit down so he falls on his rump, dropping a bucket on a man’s head, stealing a toy from a kid and placing it in a shop so the kid has to re-buy their own toy, and trapping someone in their own garage.

Each task is its own little joke. Though they aren’t difficult to pull off, the variety and humor found in each task give Untitled Goose Game a nice flow and a strong sense of personality.

Of course, the Goose must complete these tasks as sneakily as possible, because if someone sees the Goose coming, they will appropriately chase it away. Not that there’s any real penalty for getting caught. Untitled Goose Game is one of those titles that’s triumphantly easy. There’s no way for the player to truly lose, as getting caught will ultimately just slow the Goose down. Essentially, Untitled Goose Game is like a lighthearted, penalty-free Metal Gear Solid.

Untitled Goose Game also has a refreshingly minimalistic score. Composed entirely on piano, the music to the game is situational, and will be soft and serene or loud and fast depending on what the Goose is currently doing.

The game is consistently fun and funny throughout its runtime, with the game’s one major drawback being that said runtime is all too short. Granted, I’ll take a game that runs short and leaves me wanting more over a game that overstays its welcome by being obnoxiously long, but there does come a time when a game is so short it feels like it doesn’t quite reach its full potential. Sadly, Untitled Goose Game falls into this category. As fun and charming as it is, Untitled Goose Game’s “story” can be completed in about an hour and a half, and although additional checklists appear after the credits roll, they can be completed in about just as much time. Untitled Goose Game is a lot of fun while it lasts. Sadly, it doesn’t last for very long.

Though short, Untitled Goose Game is undoubtedly sweet. It’s a string of punchlines with the common thread being the everyday villainy of a Goose. Its gameplay is simple, but rewarding and entertaining. Every last task on the Goose’s to-do list should have you grinning from ear to ear.

Yeah, I’d call that art.

 

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The Legend of Zelda: Link’s Awakening (Switch) Review

The Legend of Zelda is arguably the most beloved video game series of all time, and few of its entries are as cherished as Link’s Awakening. Though it was the fourth installment in The Legend of Zelda, it was the first to be released on a handheld console. One of the main reasons Link’s Awakening built such a strong reputation for itself was due to it retaining the series’ sense of depth and exploration, despite being released on the original Gameboy in 1993.

Keep in mind this was still a time when a series being translated to a handheld system meant the compromise of its quality (even Mario didn’t quite feel like Mario on the Gameboy). So the fact that Link’s Awakening still very much felt like The Legend of Zelda was a stunning achievement in itself in 1993.

“Bonus points for the hand-drawn, anime cutscenes.”

Link’s Awakening started development as a port of the Super NES classic, A Link to the Past, released one year prior. But somewhere along the line, it became its own beast. Though it couldn’t quite reach the same heights as its SNES predecessor, Link’s Awakening still managed to capture a good deal of its magic, and has certainly held up better than the NES Zelda titles. The title proved so popular that when Nintendo released the GameBoy Color in the late 90s, one of its biggest selling points was a re-release of Link’s Awakening in 1998.

Now, twenty-one years after its GameBoy Color release, Link’s Awakening has been remade from the ground up for the Nintendo Switch, in what is undoubtedly the definitive version of the beloved title.

It’s a match made in heaven, really. Link’s Awakening played a pivotal role in Nintendo’s earlier years in handheld gaming, being one of the few games on the original GameBoy that most would agree felt as big as a home console title. And with the Nintendo Switch being a hybrid of a home console and a handheld, few Nintendo classics would be so fitting for a Switch remake.

2019’s Link’s Awakening is a beautiful recreation of the 1993 GameBoy classic. Taking on a toy aesthetic, this Switch version features character models that resemble Gashapon figures, and environments that look like dioramas. The art direction is oozing with charm, making it baffling how some sections of the Zelda fandom cried foul when the visuals were first revealed (you’d think Zelda fans would have learned their lesson by this point). The art style, combined with the HD sheen of the Nintendo Switch, make Link’s Awakening look right at home in 2019. There are admittedly a few frame rate drops here and there, but nothing too bad.

“Oh no not the bees! AAAAHHHH! They’re in my eyes! They’re in my eyes! AAHHH!”

On the gameplay side of things, Link’s Awakening on Switch features the same timeless gameplay to be expected from 2D Zelda titles post-A Link to the Past. Link is every bit as fun to control as ever. But there are even a few modernized improvements made to Link’s Awakening where needed, the most prominent of which being that Link’s sword, shield and upgrades are permanently equipped once gained. This is something of a godsend, as the limitations of the original GameBoy’s hardware meant players had to constantly be switching out Link’s items and abilities. But with the Switch’s extra buttons, Link is easily able to keep hold of his standard items and abilities, as well as equip two ‘special items’ gained from dungeons at any given time.

Perhaps the only questionable decision with this modernization is that the Roc’s Feather item, which allows Link to jump, isn’t among the permanent abilities, and still has to be equipped like the other special items. This is questionable because, with how fundamentally useful the ability to jump is, you’ll almost always have Roc’s Feather taking up one of your two item slots. The Pegasus Boots – which allow Link to dash at great speed – become automatically linked to a specific button without needing to be equipped. Roc’s Feather probably could have used the same treatment, seeing as I found myself with it equipped for almost my entire playthrough.

“All the monsters say I’m pretty fly, for a Slime Eye!”

Other changes made to the game include more collectibles to give the side quests some extra heft. The total Heart Pieces to be found in the game has increased from the mere twelve found in the original GameBoy version to thirty-two, while the Secret Seashells have gone from twenty-six to a whomping fifty that can be collected. Though simple, searching for the Heart Pieces and Seashells prove to be fun diversions to the main quest.

Perhaps the biggest brand new addition to Link’s Awakening is the inclusion of a dungeon editor. Before you get too excited, it has to be said that the dungeon editor is incredibly limited.

“Most of your edited dungeons follow a preset layout, but eventually you can unlock the ability to piece them together with more freedom.”

By visiting Dampé, players can edit their own dungeons by utilizing chambers collected from the dungeons the player has completed throughout the game (the main quest retains its eight dungeons, and the optional “Color Dungeon” from the GameBoy Color release makes a return). On the plus side, putting a dungeon together from pre-existing rooms and making it all make sense has a fun puzzle element to it. On the downside, the player doesn’t have the ability to edit anything about the chambers themselves. The player can’t place doors, decide what enemies to litter about or what walls can be destroyed with bombs, or even choose what rewards await in treasure chests (if your dungeon ends up having a certain number of locked doors, the chests will at first provide the number of keys required to unlock them all, then have a random amount of Rupees, with the final chest opened always containing the boss key).

Again, the dungeon editor can be fun in its own right, but don’t get your hopes up that it’s the Zelda equivalent of Super Mario Maker (though here’s hoping its presence is something of a test run for just that).

“Dude, I forgot this game had a walrus in it! 10/10.”

Aside from being a standout game on a handheld platform in the early 90s, another reason Link’s Awakening holds such a fond place for many is that it’s quite possibly the weirdest Zelda title. Taking inspiration from Twin Peaks, Link’s Awakening sees Link stranded on Koholint Island, where he must collect the eight Instruments of the Sirens in order to awaken “The Wind Fish” (who is actually a whale) – the island’s deity – who is in a deep slumber inside of an egg on top of a mountain (as whales do), if he ever wants to escape the island.

Not only is the story delightfully weird (and being one of the earliest games in the series, it’s also refreshingly absent of that convoluted “Zelda timeline” nonsense), but Link’s Awakening is also a ‘weird’ entry in that it features many elements from the Super Mario series (as well as a Kirby cameo).

“He does exist!”

While Mario and Zelda have always referenced each other – seeing as they’re the two series most strongly associated with the Nintendo name, and both originally spawned from Shigeru Miyamoto’s mind – Link’s Awakening took things to another level by directly featuring enemies and characters from the Mushroom Kingdom and a profuse amount of side-scrolling sections that pay homage to Mario’s early adventures. Many fans were worried that – much like the Superstar Saga remake on 3DS was absent of a certain cameo found in its original GameBoy Advance version – that the Mario elements would be removed or downplayed in this Switch remake. Thankfully, not only are the Mario cameos and references in full force (complete with the first 3D appearance of Super Mario Bros. 2’s Wart), but Nintendo even doubled down on them with a new side quest focused on collecting Mario figurines. There’s just something about the Mario series that makes the presence of its characters add a little more fun to any game. 

Although the writing may not necessarily be anything to write home about, the Twin Peaks influence definitely shines through in some wacky dialogue and the overall strangeness of the adventure, an influence which I like to think has carried over to subsequent entries in the Zelda series, given its often bizarre characters. That weirdness started here, and perhaps (sadly) hasn’t been outdone by subsequent Zeldas.

“Hi there! Face here! Bur bur BUR!”

Now I have to make a confession, I was never the biggest fan of Link’s Awakening back in the day. It was certainly a considerable improvement over the NES Zelda games, and I loved that aforementioned weirdness of it all, but for one reason or another, it never quite clicked with me in the same way A Link to the Past and some later Zeldas did.

That’s all changed with this Switch remake, which has won me over to Link’s Awakening so strongly, that I would probably now rank it among my favorite Zelda games. The adventure is long and deep enough to feel rewarding, but short enough as to not overstay its welcome. To think that this game was originally a GameBoy title is somewhat baffling. Sure, it’s still on the “smaller” side of the Zelda series, but it was so big back in its own day that Link’s Awakening still feels like a meaty addition to any Switch library.

I’m not sure whether this remake has simply opened my eyes to Link’s Awakening’s full merits, or if its changes and additions have made the game that much better (again, that art style!). Maybe a bit of both.

Whatever the case, Link’s Awakening  on Switch is an ideal video game remake and, quite fittingly, something of a dream come true.

 

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Wario Land: Shake It! Review

Wario Land originally began life as a spinoff of Super Mario Land in 1994, but Nintendo would later re-invented the series with its second entry four years later in 1998. This Wario resurgence lasted for the next few years, culminating with Wario Land 4 on the GameBoy Advance in 2001. After that, the Wario Land series went on hiatus, and with the WarioWare franchise coming into prominence soon thereafter, it seemed like Wario Land was a thing of the past. But after seven years, Wario Land finally made a comeback – and on a home console for the very first time – in the form of Wario Land: Shake It! on the Wii. While Wario Land: Shake It! may seem like a more straightforward platformer than some of its predecessors, it hides a surprising level of depth for completionists, and hand-drawn visuals that make it all too easy to get sucked into.

Wario Land: Shake It! was developed by Good-Feel, the same studio who would later make Kirby’s Epic Yarn as well as Yoshi’s Woolly World and its sequel. But this was Good-Feel’s first instance of tackling a popular Nintendo franchise and giving it a unique visual overhaul. Naturally, you wouldn’t expect Wario to be as cute or charming as Kirby or Yoshi, but that doesn’t mean Wario Land: Shake It! is any less visually captivating than its more well-known Kirby and Yoshi counterparts.

Instead of being made of yarn or crafts, Wario’s adventure from Good-Feel uses entirely hand-drawn character sprites, courtesy of acclaimed anime studio Production I.G. And the results are quite stunning. Wario would probably be one of the last video game characters you’d think of when you think ‘anime,’ and yet, Wario Land: Shake It! is one of the best examples of an interactive anime. Wario’s every action is surprisingly detailed, and the enemies – though more simplistic than Wario – still boast fluid animation. It’s simply a great game to look at, an element that would become a hallmark of Good-Feel’s titles.

The story is, of course, simple stuff. A princess from the “Shake Dimension” has been kidnapped by the Shake King, and her loyal followers, the Mertles – weird bird creatures that remind me of the Flickies from Sonic 3D Blast -have been imprisoned. The Shake Dimension needs a savior…but they end up finding Wario instead. Wario is at first disinterested in saving the day, until an escaped Mertle informs Wario that he can keep the many treasures he comes across in the Shake Dimension, including the kingdom’s most priceless treasure, a bottomless coin sack that will generate money whenever shaken. Naturally, this gets Wario off his lazy butt to set out and be a “hero.”

In terms of gameplay, Wario Land: Shake It! at first appears to be a pretty straightforward platformer, but with a twist: after you make it to the end of a stage (a caged Mertle that can be freed by shaking said cage), Wario must race back to the start of the stage before time runs out, lest he lose his accumulated treasures.

Like in Wario Land 4, our mustachioed, garlic-obsessed anti-hero is no longer invincible as he was in Wario Lands 2 and 3. Though with that said, you’ll still likely rarely lose a life (during my play through for this review, I only ever actually died during the final boss). So the game may be easy from that perspective, but as Good-Feel would later implement in their future titles, the real challenge of Wario Land: Shake It! comes in the form of total completion. Each stage houses three unique treasures to be uncovered, as well as a series of challenges (which basically work like Xbox achievements or Playstation trophies), from three to five depending on the stage, that need to be completed in order to unlock that stage’s soundtrack, which is necessary for those seeking 100% completion. Some stages will even have some challenges that contradict each other, meaning you’ll have to repeat those stages in order to check off every challenge. Additionally, the game features a few hidden stages, unlocked upon finding hidden maps within the normal levels.

The downside to Wario no longer being invincible (aside from the obvious) is that the transformations of Wario Lands past have been greatly reduced. In Wario Lands 2 and 3, Wario’s invincibility was part of an elaborate joke, in which getting hurt by enemies gave Wario different “transformations” as opposed to taking damage. In Shake It!, only Wario’s fire and snow forms return (that is to say, Wario can catch fire or get trapped in a snowball to his advantage), but otherwise, Wario’s gameplay is more traditional than in some of his past ventures.

The irony in this scenario is that Good-Feel would later incorporate character invincibility in Kirby’s Epic Yarn. So Good-Feel’s entry in the Wario series is lacking one of its past trademarks, but the studio incorporated it into their Kirby installment two years later.

Still, Wario remains a fun character to control. He’s still his brutish self, so he can charge, throw and butt-stomp enemies into oblivion. And in the game’s signature addition to Wario’s repertoire is that he can now shake enemies and objects he’s holding (done by shaking the Wii remote). Enemies will often drop health-replenishing garlic, but some of them, as well as plenty of objects, will dish out coins by the dozens.

Unfortunately, despite the bountiful amounts of cash-money Wario is bound to come across, there’s only so many uses for it in Wario Land: Shake It! The gold can be seen as the equivalent to points, with players trying to best their “high score” with return visits to stages. But since Wario’s collected gold actually has practical use, it really stands out how few uses there are for it. After a world is completed, Wario can purchase access to the next world – as well as an additional hit point – from his former rival, Captain Syrup. If Good-Feel were going to include things to spend Wario’s stolen hard-earned loot on, you can’t help but feel there could have been better things to spend them on. It would have made more sense if the secret levels had to be purchased, and if there were additional abilities to unlock, instead of spending Wario’s gold on things that just feel like the natural progress of the game.

Players seeking a tougher challenge will probably skip buying the extra hearts anyway, and the fact that Wario has to purchase the next world in line instead of simply progressing to it just feels like a forced reason to have Wario spend his gold. At that point, Wario’s treasure may as well just be for a high score.

Still, while Wario’s abilities may have been trimmed down, and he may as well be holding his gold, I do ultimately feel that Wario Land: Shake It! has aged better than its predecessors. Its level design (and the optional challenges therein) get progressively more difficult and clever as the game goes on. And with the aforementioned mechanic of racing back to the start of the levels after rescuing its Mertle, Good-Feel finds various ways to incorporate unique puzzle elements into the stages (oftentimes the player will have to pay close attention to how Wario interacts with the environment on the way to a level’s ‘end,’ so that he has a quicker path back to the starting point). In regard to this level design, Wario Land: Shake It! remains a creative platformer over a decade later. And its striking, hand-drawn imagery still stands out. Shake It! may not last long for those simply rushing through the levels, but because of the depth of the game’s exploration due to its collectibles and objectives, it should have completionists salivating.

Sadly, after Shake It!, Wario Land entered its longest hiatus to date, which continues to this day. Maybe one day, Wario will find a convenient enough time for himself to go on another adventure. But at least Wario Land’s last ride (so far) was one that still holds up today, and still looks as stunning as ever.

 

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