Today, September 22nd 2021, marks the ten-year anniversary of the original release of Dark Souls in Japan. So not only is September 22nd the birthday of both Bilbo and Frodo Baggins, but I guess you could call it Dark Souls Day as well.
Yes, somehow it’s been ten full years since Dark Souls first captured our imaginations (and made us smash our controllers) with its intricate gameplay, epic boss fights and unique dark fantasy world. It would end up being (unquestionably) the most influential video game of the last decade, with many imitators in the “Souls-like” genre (none of which are a patch on the real deal) being made in its wake, and games in just about every other genre adopting many of its elements and mechanics.
Okay, so technically Demon’s Souls started the series. Though while Demon’s Souls may be a classic in its own right, I think it’s safe to say it was with 2011’s Dark Souls that the series really took off and conquered the video game world.
Unlike so many games from the late 2000s/early 2010s, Dark Souls has aged beautifully, and its impact and influence has remained intact in a way that’s usually reserved for Nintendo’s best titles. I mean, who the hell talks about Bioshock anymore? Good riddance, I say.
Ah, but Dark Souls. It really is one of the medium’s modern classics. Although now that it’s ten-years old, do we take out the “modern” and simply categorize it as a “classic?”
At any rate, that’s what Dark Souls is, a classic! Its sequels and follow-ups are also stellar (though BloodBorne is probably the only one whose reputation matches the original). The series was a dominating force in gaming in the 2010s, and it seems its influence will continue well beyond that.
Series creator Hidetaka Miyazaki’s next game, Elden Ring, is one of the most anticipated games on the horizon. But it certainly has a lot to live up to if it hopes to have the same impact as its 2011 predecessor. A hell of an act to follow.
These days, we kind of take for granted the Mario games that don’t fit into the “main” Super Mario series. Unless it’s the next big 3D Mario adventure, we tend to refer to the games as “spin-offs” and don’t hold them in the same light as the “proper” Mario games.
The thing is, Mario was always Nintendo’s renaissance man. Shigeru Miyamoto designed the character with the intent that he could be thrown into any type of game, in a similar vein to classic cartoon characters like Mickey Mouse, Bugs Bunny and (most specifically) Popeye the Sailor Man. It’s not as though Mario was created with a definitive story and some big universe of characters already planned out ahead of time. Mario appeared in a number of games before Princess Peach, Bowser and the entire Mushroom Kingdom came into existence in Super Mario Bros. That was Mario’s breakout role, sure, but it wasn’t exactly where he got his start. Although it makes sense that Super Mario Bros. would become the basis of what we all consider to be “main” Mario games, as time has gone on it seems people have diminished the allure of the “other” Mario games as an unfortunate side effect of this.
That wasn’t the case back in 1990, when Mario could suddenly don a lab coat and head mirror, call himself a doctor, and star in a falling block puzzle game, and it would still create an iconic game in its own right.
Dr. Mario was the first such puzzle game in the Mario franchise, which would slowly become its own series, and open the door for puzzle games starring other Mario franchise characters like Yoshi’s Cookie and Wario’s Woods. While some of these later puzzle games were improvements, and subsequent Dr. Mario sequels (such as the underrated Nintendo 64 entry) built on the formula, the original NES release is still a charming and addictive puzzle game.
The goal of Dr. Mario is to eliminate a screen of all of its viruses. These viruses come in three colors: red, blue and yellow. You eliminate these viruses by matching them up with vitamins of corresponding colors. But there are a few twists to keep things interesting.
The first thing to note is that the vitamins have two halves, which can be different colors, so you’ll want to pay extra attention when the viruses are close together. You have to match four objects of the same color in order to eliminate a virus. Each half of a vitamin counts as one object, and a virus counts as another. So you could potentially have three viruses of the same color stacked on top of each other, meaning you’d only have to put one similarly colored half of a vitamin on top of them to eliminate them. You can even eliminate the viruses by placing the vitamins against them horizontally, but it’s much less common.
Additionally, if the vitamins involved in an elimination feature halves of different colors, those halves will remain and fall straight down until they either land on a virus or the bottom of the screen. This gives you an added level of strategy for any nearby viruses, but it also risks filling up the screen with piles of vitamins. If the vitamins stack up to the top of the screen and Mario can’t throw any more, you lose the round.
It’s a nice twist on the Tetris formula, one that remains fun even today. Better still, the game features a two-player competitive mode, where each player aims to eliminate their screen of viruses before the other. And despite the technical limitations of the game (even by NES standards) it makes the best with what it has. The graphics are cute and fun (I especially like how part of the screen is a microscope held up to the viruses, just so you can see them dancing around in all their glory), and the game’s two selectable music tracks, Chill and Fever, are infectiously catchy, and are all too easy to listen to on repeat as you play round after round.
Unfortunately, if you don’t have a second player at the ready to tackle the aforementioned two-player mode, Dr. Mario’s gameplay can only go so far. The lack of any additional modes really stands out in retrospect, and the fact that – unlike Tetris – each round has a set goal to reach means beating your own high score is kind of an afterthought.
Dr. Mario is still fun, no doubt. But it isn’t particularly deep. It’s at its best when two players are onboard, and even in that area it’s been bettered (Dr. Mario 64 turned the formula into a four-player party game. And now I really wish Nintendo would re-release that game or make a proper sequel to further add to the proceedings).
Its limitations are certainly more apparent today, but Dr. Mario is still worth playing. Perhaps more importantly, it represents a time when gamers were a bit wiser, and could accept Mario in any role and not question the merit in its potential.
Free Guy is a comedy with a fun premise: a video game NPC (Non-Player Character) slowly realizing he is, in fact, a video game character, and wanting something better out of life than what his programming entails. All of which is influenced by his unrequited love for the avatar of a player.
The NPC in question is simply named Guy (Ryan Reynolds), a bank teller in a video game called Free City, which is basically Grand Theft Auto crossed with Fortnite (the destructive open-world of the former, and the garish, unharmonious elements of the latter). Guy lives a simple life: he wakes up, says hello to his goldfish, puts on the same suit, gets the same cup of coffee, and walks to work with his best friend Buddy (Lil Rel Howery) – a security guard at the same bank – before spending the rest of his day on the ground as the bank is continuously robbed day and night.
Naturally, in a game like Free City, the bank in which Guy works exists solely as a mission for players to rob in order to get in-game currency and experience points. The players are known to the NPCs simply as “Sunglasses Guys,” with their eyewear being the movie’s physical representation of the players’ Heads-Up Display. The NPCs understand that there’s something different about the Sunglasses Guys, as they can’t fully communicate with them or do the things they’re able to do, but since it’s always been a part of their lives, they just accept it. The robberies at the bank are so frequent, that poor Buddy has never once done any real security work, as he hits the ground by default as soon as a player kicks in the door. To Guy, Buddy, and everyone else at the bank, getting robbed is part of their daily routine.
Things begin to change when, during one of his daily walks to work, Guy becomes smitten with a Sunglasses Woman named Molotov Girl, who is the avatar of Millie Rusk (both portrayed by Jodie Comer). Guy still goes to work, but can’t get the girl of his dreams out of his head, and wishes to meet her. So when the bank is inevitably robbed again, Guy doesn’t have the patience for it. Guy stands up to the bank robber, accidentally killing him in the process (he can respawn later), then takes his sunglasses, to the absolute confusion of everyone else at the bank.
Once outside, Guy tries on the sunglasses and sees his world in a whole new light: He can see the locations of missions in his immediate area, the NPCs and Sunglasses Guys have their levels displayed overhead, and health and power-ups are scattered all over the place. These are all only visible when he has the sunglasses on, so it’s like a cute video game version of They Live.
With his (literal) new outlook on life, Guy hopes to reunite with Molotov Girl and make a connection with her. But it won’t be easy. Free City is already a dangerous place as it is, but the developers of the game – particularly their boss Antwan (Taika Waititi) – believe Guy is the result of a player hacking the game to control an NPC, and make it their mission to make life in the game as difficult as possible for him, seeing as they can’t trace him to any actual hacker to punish him otherwise.
That’s the base premise of the story, and in that regard, Free Guy is a whole lot of fun. There are, however, some added details to the plot that I have more mixed feelings about.
It turns out Millie is a former Indie developer who helped design a game called Life Itself alongside Walter “Keys” McKeys (Joe Keery), who now works for Antwan’s company. Life Itself was to be a game about watching its characters grow and learn organically without player influence (sounds pretentious enough to be a real Indie game), but Keys’ and Millie’s studio was bought out by Antwan, killing Life Itself in the process. Keys just kind of gave up on his dreams and now works on Free City for a paycheck, but Millie believes Antwan stole the code for Life Itself and used it in Free City. So she plays the game as Molotov Girl to try and find proof of Antwan’s theft. It probably won’t take very long to connect the dots that Guy is actual proof of Life Itself’s code hidden being hidden within Free City, and that he not only grew and learned as Life Itself intended, but managed to gain sentience.
I don’t know, I’m a little disappointed that the film felt the need to give an explanation as to why Guy is able to defy what he’s supposed to do in the game. Movies these days seem to have a compulsive need to feed audiences every detail (God forbid we have to use our imaginations), and it kind of takes some of the fun away from a concept like this. Imagine if Wreck-It Ralph had to develop an entire side story just to explain why Ralph could go against his programming. It’d be totally unnecessary. Sometimes “because it’s a movie” should really be all the explanation you need.
The more serious elements of the “real world” side story is where Free Guy starts to fumble a bit (including a kind of cheesy budding romance between Millie and Keys). I could also live without the cameos from real life Twitch Streamers and YouTubers, which I think were meant to make things feel more authentic, but only end up reminding me of how annoying and obnoxious those areas of gaming are. There are a few references and cameos from real video games, such as Mega Man’s Mega Buster and the Gravity Gun from Half-Life 2, but they are surprisingly few. I would have rather seen more of the cameos from actual games, instead of the internet personalities who play them. Additionally, because Free Guy was produced by 20th Century Fox (now 20th Century Studios) around the same time of the Disney buyout, the film also gets in a big fanservice-heavy moment featuring a few other Disney-owned properties. While this certainly works better and is far more crowd-pleasing than the Twitch cameos, it does make me wish all the more that the references to actual video games got the same kind of love and attention.
Still, Free Guy is funny and charming enough that it ultimately wins out. I especially like Ryan Reynolds in the role of Guy, who makes the bumbling NPC an innocent and naive hero who’s all too easy to root for. At the expense of being hated by a lot of people, I feel Ryan Reynolds’ schtick as Deadpool can get a little grating after a while, but here the act never wears thin. Jodie Comer makes for a great foil, and seeing as her character is the one who bridges the film’s two worlds, she gets a nice double act to play.
I also like the film on a visual level. Free City certainly looks like it could be a modern video game (for better or worse), and the video game setting allows for some fun visual effects. The film additionally features a solid musical score courtesy of Christophe Beck (who manages to sneak in a piece from one of his previous film scores that I won’t spoil here). Free Guy even has a surprisingly life-affirming message through Guy’s story, which is probably the more serious element of the plot the film should have focused more on, instead of all the real world hullabaloo.
The plotlines with the human characters may detract a little from the silly innocence of the “video game NPC falls in love with a player character and ditches his programming” premise that the film sold itself on. But whenever the film gets back to that premise, and we see the lengths Guy will go to in order to win Molotov Girl’s affections, and the turmoil he goes through the more he learns about the world he inhabits, Free Guy is a winner. It’s fun, funny and heartfelt, and even has a bit of originality going for it. It’s not too often those things come together these days.
I hate to admit it, but I kind of hate what Super Smash Bros. has become.
I know, I’ve complained a lot about Super Smash Bros. in the past. But I finally think I best understand where my disillusionment with the series lies. In the past, I’ve not-entirely joked about my disdain for the overabundance of “anime sword guys” in the series, and I stand by those complaints in that their execution lacks variety. But that’s ultimately only a critique. My real issue with the series is actually much deeper than that.
Super Smash Bros. simply isn’t the same series it once was. By that, I mean that it no longer feels like the “Nintendo fighter” that it used to be. In its earlier entries, Super Smash Bros. was all about Nintendo’s history, pitting the company’s many characters against each other in bouts that were one part 2D fighter, one part Mario Kart, and one part sumo wrestling. The series was as much a love letter to Nintendo history as much as it was a combination of a party game and a fighter.
That “Nintendo-ness” has been lost to the series in more recent entries: There are no longer trophies that give brief glimpses to the deeper nooks and crannies of Nintendo’s back catalogue. The once simple arcade-style single player modes are replaced with overblown “story” modes with cinematics that look more like something out of Kingdom Hearts than Super Smash Bros. And while the series used to pluck Nintendo characters like Ness or the Ice Climbers out of obscurity, these days we instead just get more and more third-party characters who have less and less to do with Nintendo. The franchise now feels like it’s more about the hype than the history, with each subsequent third-party addition getting a more over-produced reveal trailer than the last.
I know, by now you’re probably ready to jump down my throat for being a Nintendo fanboy. But this isn’t a case of “X company is better than Y,” it’s a simple matter of a series forgetting what it once was. Super Smash Bros. is bigger than ever, but it’s kind of lost sight of its original purpose as it expanded.
I miss the humbler days of Super Smash Bros. Back when the inclusion of someone like King Dedede was considered a big deal, because he was a classic Nintendo character. Nowadays Super Smash Bros. just seems like it’s trying to get bigger and bigger, gluttonously trying to snag as many of the biggest names from other people’s games as it can get.
Don’t get me wrong, I’m not against the idea of third-party characters being included in Super Smash Bros. But I do think the series has gone too far in this direction, and needs to take a few steps back in this department. Back in Super Smash Bros. Brawl (the first entry to introduce characters from outside of Nintendo) they made it a point to keep the third-party characters to a minimum (it had two). Now, they just can’t stop adding them. It’s kind of polluted the whole point of the series.
It isn’t just the number of third-party characters that’s diluted the Nintendo aspect of Super Smash Bros. on its own, but who they’re selecting. I liked the idea Sakurai and company had going into Brawl, that the third-party characters had to have some history with Nintendo (which makes the fact that Solid Snake was the first such character added a little odd, since his presence on Nintendo consoles wasn’t too expansive). I think maybe, going forward, the series should look back and double-down on that notion, and the third-party characters should at least have strong ties to Nintendo’s own history. Mega Man and Simon Belmont make all the sense in the world. When you think of third-party games in Nintendo’s early years, that’s immediately who you’d think of. Banjo-Kazooie also makes perfect sense, given that Rare was probably the most beloved and prolific second-party Nintendo ever had (they basically carried the N64).
Those characters’ series all played a key role in Nintendo’s history, so they still feel like they fit in to the proceedings. They may not have been made by Nintendo themselves, but their association with the Big N is so strong they feel right at home in Super Smash Bros. The same can’t really be said about Final Fantasy VII, Fatal Fury, Persona, Tekken or Minecraft. That’s not to say anything against those games (well, maybe Final Fantasy VII), and some of them have appeared on Nintendo consoles at one point or another. But you can’t really make an argument that they are as much a part of Nintendo’s history as Mega Man or Castlevania.
Now I know people will really want to thrash me, and accuse me of being “salty” that my favorite character didn’t make it or whatever. Lord knows the Sakurai Defense Force grab their torches and pitchforks and spread their toxicity whenever someone shows the smallest modicum of disappointment in the series. I personally don’t find it unreasonable if someone is disappointed in a game about fanservice when said game fails to deliver on that fanservice. But that’s besides the point. The point is that Super Smash Bros. now just feels like a big hype machine, a shallow commercial more focused on the promotion of other people’s games and the production values of its own trailers than it is about, you know, Nintendo characters fighting.
I’ve heard some people claim that Super Smash Bros. “isn’t about Nintendo history anymore” as a means of defending the series. But that’s exactly the problem! There used to be a spirit of playfulness and inventiveness to the series, a trait shared by other Nintendo staples like Super Mario and The Legend of Zelda. And that just isn’t present anymore. The heart and soul of Super Smash Bros. has all but disappeared as it becomes more and more about shallow, meaningless hype.
Think back to the original Super Smash Bros. No one knew who this Ness kid was. You could almost hear the collective “What the hell is EarthBound?” of everyone who played it. Then there’s the reveal trailer for Super Smash Bros. Melee, which introduced Princess Peach, Bowser and Zelda to the series, then turned around and also reminded fans of the existence of the Ice Climbers! Even when Brawl introduced Solid Snake to the series (whose reveal seems as tame as a kitten compared to what we have now), it did so only after bringing in Wario, Meta Knight, Zero Suit Samus and a freshly-resurrected Pit from Kid Icarus.
These were all eclectic combinations of classic Nintendo faces, as well as some that inspired players to look deeper into Nintendo’s history (or elicited delightful surprise to the few people who were aware of the more obscure characters ahead of time). Sure, Super Smash Bros. Ultimate brought in longtime requests Ridley and King K. Rool, and that was amazing. But then it all gets kind of diluted when the focus quickly shifts to a revolving door of third-party characters. There’s been so many third-party characters added through the game’s DLC, that Ridley and K. Rool’s welcome inclusions feel like they’ve been drowned.
Some people would say that they’re running out of Nintendo characters to use. Like hell they are! Series like Advance Wars and Golden Sun still go unrepresented, despite demand from fans (but those fans are naturally just supposed to shut up “because SepHiRoth!!1!”). There are characters like Stanley the Bugman or Muddy Mole that they could pluck from history. Hell, Takamaru from The Mysterious Murasame Castle has been considered for inclusion into Super Smash Bros. in the past, but was rejected for “not being as recognized as other Nintendo characters.” Since when was recognizability a factor? Good thing Ness and Pit made it in when they did, I guess.
Point being, there’s no shortage of Nintendo history that can still be drawn upon to be included as playable characters in Super Smash Bros. It’s just that Nintendo and Sakurai and whoever else choose to focus on the big names they can get elsewhere. It was fun for a while, but by this point, it’s kind of robbed Super Smash Bros. of what made it special to begin with.
The fans who want to see these characters from Nintendo’s past often seem to get bullied online by Super Smash Bros’ strangely zealous defenders, since those characters “don’t have a chance” to make it. Funny, because in the Super Smash Bros. of old, those are exactly the kind of characters who would make it. Resurrecting characters from the obscure corners of Nintendo’s history is the most “Super Smash Bros.” thing imaginable. Or at least it was back when the series was actually about Nintendo characters (it may be worth pointing out that learning the reason for Takamura’s exclusion was what brought me to the realization of what’s wrong with Super Smash Bros’ current mentality).
It isn’t just the characters though, but the gameplay of Super Smash Bros. itself seems to care less and less about the items, the stage gimmicks, and all the Mario Kart-esque party elements that separated Super Smash Bros. from other fighters in the first place. I think the competitive gaming scene has had a largely negative influence on the Super Smash Bros. series (I would argue competitive gaming has had a negative impact on a lot of other series as well, but let’s stick to Super Smash Bros. for now). I don’t have a problem with people who want to play Super Smash Bros. as a competitive game (I myself often played the series on flat stages with little to no items). But let’s be real here: Super Smash Bros. was never a hardcore fighter. While it’s admittedly a good thing that the series has had more of a focus on character balance in recent entries, that’s one of the few positives as much of the series’ appeal has been lost as it caters more and more to the competitive crowd.
Take, for example, the WarioWare stage. In Brawl, if you were playing on the WarioWare stage with AI opponents, and one of the stage’s “micro-games” showed up – asking the combatants to play along with its goofy instructions – the AI would follow those instructions, because it was like WarioWare. That was the appeal unique to that level. That was the kind of playfulness the series used to have. In Super Smash Bros. Ultimate, however, if you do the same thing, the AI opponent will ignore the WarioWare rules and just keep fighting because hardcore fighter!
Where’s the charm? Where’s the personality?
They’ve been lost, unfortunately. Lost to Super Smash Bros’ insistence on being taken seriously as a competitive fighter, and its even more egregious ambitions of being a hype machine.
It’s almost like Super Smash Bros. has had a direct opposite trajectory as Paper Mario in regards to the changes the series has made over time, but both have been damaging to their respective series’ heart: Paper Mario continues to strip away its depth to the point of being an empty shell of its former self, while Super Smash Bros. just keeps adding bells and whistles to the point that it’s lost its identity as Nintendo’s take on the fighter.
Again, some people claim that Super Smash Bros. is now something more than it once was, as it now encompasses video games as a whole. I’d argue that it’s become too much, and that less would actually be more at this point. Give me the smaller, more creative Super Smash Bros. over its garish, Esports-pandering current self any day.
Some even argue that Super Smash Bros. is bigger than “just Nintendo” at this point, but does it really have to be?
Personally, once the DLC characters for Super Smash Bros. Ultimate are good and done with, I hope Nintendo, Sakurai and everyone else involved take a good, hard look at the series. After Ultimate, I’d love to see the next installment go back to its roots. Yes, that means cutting a lot of the fat which yes, means cutting back on characters like Cloud, Sephiroth, Joker, Terry, Steve and Kazuya. Will that disappoint some people? Sure. But hey, at least those characters had their time in the sun. Besides, their fans seemed to relish in rubbing the disappointment of other people in their faces, so I can’t say I’d feel too bad for them.
Let’s have the next Super Smash Bros. include the original N64 cast, and those of Melee and Brawl as well, but maybe be a little more selective of the characters from subsequent entries. Characters like Mega Man, Simon Belmont and Banjo-Kazooie can stay. But let’s really try to keep it to a minimum with the third-party choices. A few new characters who actually have meaningful ties to Nintendo’s history can join in as well, whether they be recognizable or not. Let’s maybe have a few fun modes instead of trying to concoct this big, epic storyline that couldn’t be more out of place in this series. And let’s stop pretending that Super Smash Bros. should be some big ESports franchise, and bring back the playfulness and emphasis on fun of the earlier entries.
Super Smash Bros. would do well for itself to go back to basics. To self-reflect and realize it doesn’t have to be the hulking monstrosity it’s become. Just let it be Nintendo’s fun take on the fighter genre again. Maybe then it can reclaim its heart and soul, instead of just being the empty embodiment of hype.
There are a few ways one could acknowledge what constitutes the “best” games on a console, such as its biggest milestone releases or its most influential titles. Or you could go with what games were best in their day. In the end, I decided to go with my usual method of which games are simply the most fun to play today.
Because of this reason, you may see some notable omissions. Case in point: I won’t be including Goldeneye 007. Even though that title was a landmark for first-person shooters (especially on home consoles) and multiplayer games in general, the games it inspired definitely improved on its foundations, which leaves Goldeneye 007 to feel kind of clunky by today’s standards.
But that doesn’t mean that every N64 great is a thing of the past, and the Nintendo 64 games that do hold up, do so pretty swimmingly. The following ten games are the ones I would recommend if someone wanted to play a great game on the N64 today. Not recommending games based on historical purposes to someone who didn’t grow up with the N64, and not selections for someone who did grow up with the N64 looking for some nostalgia. These are games I would recommend simply as great games to play, that just happen to be from the Nintendo 64’s library.
Oh, and to save myself the hassle of ranking this list, I didn’t! I just listed all ten games in alphabetical order and I recommend them as is! Some are colorful platforming romps, some are epic adventures, and some are full of the multiplayer goodness the N64 made famous!
Before we get to the top 10 proper, however, here are some honorable mentions:
Diddy Kong Racing: A Mario Kart-style racing game combined with a Super Mario 64-style adventure! That’s one amazing combination that inspired many other kart racers to follow. Not to mention it introduced us to both Banjo and Conker! It also boasts great multiplayer that is somewhat hindered by the fact that there’s no music when playing with more than two players. To this day, people are waiting for Mario Kart to emulate its adventure mode.
Donkey Kong 64: The biggest Nintendo 64 game in the literal sense of the term. DK64, while still a fun collect-a-thon platformer, is sometimes too big for its own good. With five playable characters, each with their own collectibles, DK64 certainly has variety in gameplay and a lot of things to do. Though for those same reasons, it can become a little tedious having to switch back and forth between characters. But in typical Rare fashion, DK64 also includes a host of multiplayer modes at your disposal. Why on Earth did the idea of single-player adventure games having such great multiplayer options fall out of style?
Mario Kart 64: A beloved, nostalgic favorite today, but Mario Kart 64 actually wasn’t so fondly received critically in its time, being considered a disappointing follow-up to the SNES original upon its release. It admittedly isn’t the best Mario Kart: There are only a few memorable racetracks, the graphics are ugly, and like Diddy Kong Racing, there’s no music when playing with three or four people. But the core gameplay holds up, and Mario Kart 64 has some of the best balloon battle courses in the series (Block Fort!). A fun time, but not the go-to Mario Kart experience today, nor the best example of Mario multiplayer on the N64.
Mario Tennis: The origins of Waluigi, a character destined to… fill out the roster in Mario spinoffs (What can I say? Not every character addition is going to end up having the impact of Yoshi). Mario Golf is also fun, but it’s Mario Tennis that I think is the better go-to Mario sports title of yesteryear. A solid tennis game with a Mario twist. Oh, and while it may have debuted Waluigi, it also served as the last time we saw Donkey Kong Jr., who’s been MIA ever since.
Super Smash Bros.: Ah, the good ol’ days. Back when Super Smash Bros. was actually about Nintendo characters. I miss that. Sure, the N64 original may not have the same depth and polish of later entries in the series, but Super Smash Bros. remains a fun multiplayer romp. And it’s fun just to revisit and see the series in its purest state, before its Nintendo-ness was diluted and it catered too heavily to the Esports crowd. Just pure Nintendo fun.
And now, finally, the Top 10 Nintendo 64 Games to Play Today!
Let’s be frank: The N64 was Rare’s console. While many of Nintendo’s key franchises made appearances, they could be pretty spread out. In between Nintendo’s big releases, Rare was pumping out one game after another to keep it all afloat. But Rare’s N64 output didn’t just fill in the gaps, they released a number of genuine winners during the era, some of which even outshined Nintendo’s own efforts.
Though the Donkey Kong Country trilogy on the Super Nintendo and Goldeneye 007 were Rare’s biggest sellers, it was Banjo-Kazooie who proved to be Rare’s homegrown hero(es). Simply the most “Rare” of all of Rare’s creations.
A 3D platformer modeled after none other than Super Mario 64, Banjo-Kazooie replaced Nintendo’s iconic plumber with Banjo the bear from Diddy Kong Racing, and the bird Kazooie who lived in his backpack. Replacing Mario’s coins were music notes, and in place of the elusive Power Stars we had Jiggies; magical, golden jigsaw pieces.
Banjo-Kazooie isn’t just Super Mario 64 with a new coat of paint though. Whereas Mario had all of his moves right out of the gate, Banjo and Kazooie learn different abilities as they go, which gave each subsequent level new means for our titular duo to obtain Jiggies. There’s the witch doctor, Mumbo Jumbo, who could transform Banjo and Kazooie into various different forms. There are mini-games abound. And to change up video game traditions, for the game’s finale, Banjo and Kazooie find themselves in the middle of a board game/quiz show (though we do also get a proper final boss, proving that sometimes you can have your cake and eat it too).
All of this, in addition to Banjo-Kazooie’s unique personality (those garbled jibberish voices are just wonderful), meant Banjo-Kazooie was no mere copycat. It took what Super Mario 64 started, and made it entirely its own.
It may seem like a smaller adventure by today’s standards, there are still a few camera issues, and some Jiggies are unceremoniously just lying around, but make no mistake, Banjo-Kazooie is still as fun as it ever was.
While Banjo-Kazooie took a page from Super Mario 64, its sequel, Banjo-Tooie, was like a combination of Mario’s N64 outing and The Legend of Zelda: Ocarina of Time. Tooie is a much bigger game than Kazooie, but seemingly learning from Donkey Kong 64, it never feels too bloated. Late N64 graphics aside, Banjo-Tooie still holds up over two decades later.
Though Kazooie’s name is sadly no longer in the title, she may be even more present here than she was in the first game, as Banjo and Kazooie can now go their separate ways and claim their own Jiggies. There are now more prominent boss fights in every stage. There are first-person shooter segments that hold up better than the actual first-person shooters on the N64. You can now play as Mumbo Jumbo. The level themes are more unique (the fire world and ice world are one and the same, there’s a dilapidated theme park, and a dinosaur world). And there’s now a host of multiplayer modes to enjoy!
On the downside, there are eight stages here compared to Kazooie’s nine (and ten less Jiggies as a result). One of these stages, Grunty Industries, is pointlessly convoluted. And Mumbo should really have more to do when you play as him. These are ultimately small prices to pay, considering just how good Banjo-Tooie is otherwise.
Twenty-one years on, fans still debate which is the superior game between Banjo-Kazooie and Banjo-Tooie. While the original seems to have the slight majority vote, I think I’m on the side of Banjo-Tooie. Despite the aforementioned reduction in stage numbers, I feel like Tooie otherwise builds on and improves just about everything from the original. We may all still be waiting for a third Banjo-Kazooie entry (a real third entry), but Banjo-Tooie was such a hefty adventure in its day, and so well executed, that it feels right at home among today’s games.
3: Conker’s Bad Fur Day
Oh look, it’s Rare again! But of course it’s Rare again. They carried the N64!
Released in 2001 – the same year the GameCube would later debut – Conker’s Bad Fur Day was one of the N64’s last hoorahs (along with a few other games on this list). Though it was planned to be released much, much sooner in the console’s lifespan, under a very different guise.
Originally envisioned as “Twelve Tales” and “Conker 64,” the game was to be a cute, cartoony platformer in a similar vein to Banjo-Kazooie and Super Mario 64. But a troublesome production meant Conker kept getting delayed, to the point that, after Rare released a series of colorful platformers on the N64, interest in Conker waned. So designer Chris Seavor took over the project and gave Conker a complete overhaul.
Raunchy, violent, and riddled with swear words and poop jokes, Conker’s Bad Fur Day seemed to both address the concerns of “too many kids’ games” on the N64 while simultaneously making fun of the people who made those complaints by going to such extremes. Though you have to see the irony in how, these days, people crave more colorful, kid-friendly platformers. Different times.
Some aspects of Conker’s former life remained: the game was still a story-driven platformer, as Twelve Tales was always planned to be. It realized the vision of the original game to feel like an interactive cartoon (the animations and lip syncing were so far ahead of their time, they still rank as some of the medium’s best). And true to Conker’s humble origins in Diddy Kong Racing, Conker himself never actually swears. It’s everyone else who’s foulmouthed.
More important than the “adult” humor, however, is how the gameplay is always changing whenever Conker finds himself somewhere new. Sometimes it’s a platformer, sometimes it’s a shooter, sometimes it’s a racer. Conker’s Bad Fur Day is that rare kind of game that’s always finding something new. And in typical Rare fashion, Conker’s Bad Fur Day features seven different multiplayer modes. No one overdelivered like Rare did back in the day.
Conker’s Bad Fur Day isn’t perfect, however. Like so many N64 games, the camera and some of the controls can get a little iffy, not all of the movie parodies work (ugh, The Matrix), and not all the multiplayer modes are equals. But Conker’s Bad Fur Day is as unique today as it was twenty years ago.
4: Kirby 64: The Crystal Shards
Masahiro Sakurai may have created Kirby, but I think Shinichi Shimomura – Nintendo’s most elusive, mysterious game designer – best understands how to represent the character and his world. Sadly, Shimomura only directed three Kirby games before seemingly vanishing: Kirby’s Dreamland 2, Kirby’s Dreamland 3, and Kirby 64: The Crystal Shards.
Though Kirby 64 foregoes the Animal Friends of Dreamlands 2 and 3, it (almost) makes up for it with a new twist on Kirby’s trademark copy abilities: Kirby can now combine two powers to make new ones! Even though Kirby 64 treads a lot of familiar ground elsewhere, the ability to combine powers keeps things fresh and exciting. Sometimes you may realize you need to revisit a stage with a different power combination in order to obtain one of the titular crystal shards.
While Sakurai’s Kirby games later adopted something of an of edge, Shimomura’s Kirby titles really doubled down on the cuteness of the series (sans the final bosses, giving them an appropriate contrast to everything else). There’s a softness to the visuals that have held up incredibly well since the game’s 2000 release, the music is energetic and infectious (in that very specific, late-90s/early-2000s Kirby way). It’s just an all-around comforting video game.
Some may lament that Kirby 64 is a pretty easy game. But not every game needs to be Dark Souls. Sometimes it’s nice to just be able to experience an adventure, and Kirby 64 provides just that. It takes a simple, straightforward platforming romp and turns it into something memorable with its little touches. Along with the aforementioned visuals, music and personality, Kirby 64 also has some fun level themes (the snow world is also the robot-themed world!), and the levels even manage to tell their own little stories as you progress through them, which was pretty unique at the time. Oh, and there are moments where the player takes control of King Dedede. That’s always a huge bonus.
To top it all off, Kirby 64 even features a multiplayer mode. Though it may not be as gloriously excessive as those from Rare, Kirby 64’s multiplayer provides three mini-games that are addictively fun with friends. One of these mini-games, Checkerboard Chase, even feels like a precursor to today’s wildly popular battle royal genre.
I still hope we one day see the combined copy abilities return to the series in their full glory (Kirby Star Allies featured a watered down version of it). But if Kirby 64 is the only game to feature them, at least it’s an easy game to get sucked back into even today.
5: The Legend of Zelda: Majora’s Mask
For all its acclaim, Ocarina of Time is actually a pretty conservative game, as it’s structurally following A Link to the Past nearly beat for beat, albeit in a 3D environment. Ocarina’s follow-up, Majora’s Mask, is conversely one of the most “different” games in the entire Zelda canon.
Using many of the same assets as Ocarina, Majora’s Mask repurposes them to craft a new world and adventure that’s uniquely its own. The Happy Mask Salesman, for example, was merely a shopkeeper in Ocarina. But here in Majora’s Mask he’s a key player in the story. The same goes for the Skull Kid, who has been promoted to tragic antagonist.
Similarly, while Ocarina of Time featured masks as items for the occasional sidequest (or just for the giggles), here they play a much larger role in gameplay. Three masks in particular completely change things up, allowing series protagonist Link to transform into different species from the series: a plant-like Deku, a powerful Goron and an aquatic Zora. These transformations only add that much more variety and depth to Majora’s Mask, and it’s kind of weird how Nintendo hasn’t revisited a similar idea since.
This is all before we even get into the game’s time travel motif, which sees Link travel between the same three days over and over again in order to prevent the moon from crashing into the land of Termina. There are different things to do, different people to talk to, and different events occurring between the three days, so Link will have to use that trusty Ocarina of Time to revisit and relive certain situations in order to complete the adventure (insert mandatory Groundhog Day comparison here).
Admittedly, the time travel setup isn’t for everyone, and having to redo an entire game-day over because you may have missed one thing can grow a little tedious. It’s also one of the shorter Zelda titles, with only four dungeons to complete before you unlock the final area of the game. So it may be easy at times to see why Ocarina of Time’s more straightforward, more epic adventure may continue to steal the spotlight.
Still, Majora’s Mask remains one of Nintendo’s most beloved games, and one of the most acclaimed video games of all time, for a reason. It’s not only different from any other Zelda title, it’s unlike anything else Nintendo has ever made. With a pedigree like The Legend of Zelda’s, it may be easy to hold things so sacred that it fears to branch out. Yet Majora’s Mask – coming off the heels of Ocarina of Time, no less – decided to take the series in a daring new direction. One that still holds up to this day.
6: The Legend of Zelda: Ocarina of Time
Yes, I may have just said Ocarina of Time is a conservative game, but when it’s sticking to a formula as great as A Link to the Past’s, you can’t complain too much.
For a good while, Ocarina of Time was almost unanimously held sacrosanct as the “greatest video game of all time.” While in more recent years, that debate has grown more open-minded – sometimes for the good (Super Mario Galaxy), sometimes for the not too good (The Last of Us) – for its time, it’s easy to see why Ocarina of Time garnered such praise. A Link to the Past and Super Mario 64 were probably the most acclaimed games up to that point, and Ocarina of Time was essentially a combination of the two. The “best of both worlds” if you will.
Following in its SNES predecessor’s footsteps, Ocarina of Time sees Link partake on an epic adventure to save the land of Hyrule from the evil Ganondorf. Link will travel the land, meet new people (and species), and brave dark and dreary dungeons to become the hero Hyrule needs. Ocarina perfectly translated the Zelda series’ combination of action, exploration and puzzle solving into a 3D environment. And its lock-on combat was a revelation for 3D games.
Sure, the graphics definitely show their age, but the gameplay of Ocarina of Time hasn’t really lost a step. While most series may show obvious improvements with each subsequent entry, Ocarina of Time had refined its gameplay so strongly in 1998 that it still feels surprisingly close to the Zelda titles that have arrived since.
On the downside of things (and this is a hugely unpopular opinion on my part), the soundtrack to Ocarina of Time is one of the weaker ones in the Zelda canon. I know, we all love the obvious ones like Saria’s Song/Lost Woods and the Song of Storms, but they’re in the minority of what is largely an adequate soundtrack for the time. It didn’t even feature the main Legend of Zelda theme until the 3DS remake! And even in Zelda, that N64 camerawork can still be a bit of a problem.
So maybe Ocarina of Time isn’t absolutely flawless, as we once so readily accepted. But it’s still an unforgettable adventure in gaming. One that still feels deep and rewarding even by the standards of today.
7: Mario Party 3
Not every great game has to be some grand adventure. Sometimes, fun is all you need to stand the test of time. And that’s where Mario Party 3 comes into this list: it may not be the deepest game here, and it even contains some questionable design choices. But damn it all if Mario Party 3 isn’t fun!
We’re talking about a very specific type of fun here. That unique type of fun that Nintendo seems to have mastered (but that they’ll never fully admit to): the kind of multiplayer game you play with your friends for some good times, only for it to slowly unravel and make all the players involved out for each other’s blood by the end of it all. You can get some of this “friends turned enemies” fun from Mario Kart and Super Smash Bros. But Mario Party personifies it.
From friends stealing each other’s stars and coins, to screwing each other over when they’re supposed to be teamed up in mini-games, Mario Party is designed to make you hate your friends! Okay, maybe not literally, but imagine how Dark Souls makes you feel towards its bosses. Mario Party makes you feel that towards your friends! It’s all in good fun, of course.
Honestly, you can go ahead and lump Mario Party 1 and 2 here as well and call it a tie. But I think that, being released in 2001 at the tail-end of the N64 (it was the last Nintendo-published title on the system), Mario Party 3 had refined the formula a bit. Each game board has some fun gimmicks, the mini-games are more plentiful and varied, and you have more items than ever to sabotage your friends with. Perhaps best of all, Mario Party 3 is the only entry in the series to include “Duel Mode,” which sees two players travel across the board trying to deplete each other’s hit points with the aide of partners. These partners are Mario series enemies that could be placed both in front of (attack) and behind (defense) the player, making Duel Mode something like Mario Party meets Paper Mario. Why Nintendo hasn’t revisited the Duel Mode concept in the many, many Mario Parties since, I’ll never know.
Yes, many of Mario Party’s elements are based on luck, not skill. In just about any other type of game, that would be a huge drawback. But Mario Party is all about chaotic fun with friends. The first two Mario Party entries also provide a great time, but the third is where the series really hit its high point (making it all the weirder that Nintendo has only ever re-released the second entry). On a console known for its madcap four-person multiplayer, Mario Party 3 reigns king.
8: Paper Mario
Yet another late-game entry in the N64’s library, Paper Mario was released in 2001 after years of delays in production.
Originally conceived as a sequel to Super Mario RPG, the game that would become Paper Mario had to make countless changes early on, as Square retained the rights to the original elements of Super Mario RPG. With Square moving away from Nintendo at the time, the big N turned to one of its own studios, Intelligent Systems, to pick up the pieces.
Paper Mario ended up being its own kind of Mario RPG. Mario is equipped with hammer and jump attacks, is joined on his adventure by a parade of cute partners (each inspired by different enemies from the series’ history), and gains new bonuses and abilities based on the badges he wears. These make the battles more simplified than those of Super Mario RPG, but because the game retains its spiritual predecessor’s action commands, they’re no less fun.
Bowser has stolen a magical artifact, the Star Rod, to grant his every wish. The King Koopa has granted himself invincibility, as well as absconded with Princess Peach’s entire castle, and taking it into the sky. So Mario is off on an adventure to rescue seven Star Spirits (held captive by Bowser’s forces) so they can help him undo Bowser’s magic and save the Mushroom Kingdom. It’s every bit as epic as Link’s Nintendo 64 adventures.
Of course, we have to talk about the visuals. It is called Paper Mario for a reason. Originally planned to use SNES-style sprites (prototype screenshots even showed Yoshi ripped directly from Super Mario World), this quickly evolved into making the characters literally flat amidst a 3D environment. It’s kind of fitting, really. Super Mario RPG pushed for 3D at the tail-end of the two-dimensional Super Nintendo, and Paper Mario, towards the end of the Nintendo 64, did the opposite for the 3D console. And while Paper Mario’s soundtrack could never hope to reach the heights of Super Mario RPG’s (still Yoko Shimomura’s best work by far), it still created a fun, fittingly cute soundtrack that ranks among the best on the N64.
Whereas the SNES was full of great RPGs, Paper Mario was really the only notable one to speak of for the N64. But man, is it ever a good one! Its engaging battle system, epic storyline, and insurmountable charm ascend Paper Mario into being one of the genre’s true greats.
Paper Mario’s distinct art direction means it hasn’t really aged visually, and there’s no fussy camera to wrestle with, either. And the gameplay is every bit as fun today as it was twenty years ago. Of all the games on this list, Paper Mario may just be the most timeless.
9: Star Fox 64
Star Fox is something of the one-hit wonder of Nintendo’s franchises. Some of its installments sit at the edge of greatness (others a bit further away), but only one managed to claim it: Star Fox 64.
In a bit of a turnaround from the norm, Star Fox is that rare series (the only series?) where the SNES entry is the headache-inducing eyesore, while the N64 follow-up is a timeless classic.
Originally released in 1997, Star Fox 64 is a remake of the SNES original story-wise. But its gameplay is a refinement of the rail-shooter that builds on every aspect of its predecessor. Such a refinement, in fact, that it has rarely been approached in the genre in all the years since.
Players take control of Fox McCloud, as he pilots his flying Arwing, the Landmaster Tank and (in one level) the underwater Blue-Marine. He’s accompanied by his crewmates: Grizzled veteran Peppy Hare, inventive rookie Slippy Toad, and obnoxious jerk Falco Lombardi. Fox must blast his way through the armies of the evil Andross to save the Lylat System.
Simply destroying the bad guys and making it to the end of a stage aren’t all there is to Star Fox 64, however. Certain actions will unlock branching pathways and new routes through the game. Some alternate routes are easier to find, others not so much. You’ll only go through a handful of stages on any given playthrough, but finding different paths and trying different combinations of stages give the single player mode tremendous replay value (which it already would have from the gameplay alone).
Oh, and just in case the timeless single player campaign isn’t enough, there are also multiplayer modes to keep you coming back for more.
Different vehicles. Teammates with their own benefits (Peppy gives advice, Slippy displays the bosses’ health, Falco helps find some alternate paths). Free-roaming “All-range mode” stages. Multiplayer. A strangely memorable (if corny) storyline… There’s just so much to it. Aside from the obvious 1997 visuals, Star Fox 64 has aged like a fine wine.
10: Super Mario 64
A good chunk of this list is comprised of games released towards the end of the Nintendo 64’s timeframe (Banjo-Tooie, Kirby 64 and Majora’s Mask from 2000; Conker, Mario Party 3 and Paper Mario from 2001). Given the N64’s pioneering of 3D gaming, it makes sense that it would take time for developers to hit their stride and create something that holds up down the road.
But Super Mario 64 was there from day one, and is still an adventure worth taking all these years later. It’s easy to talk about how revolutionary and influential Super Mario 64 was, but this list is meant to discuss how much fun it still is.
What’s amazing is how Super Mario 64 translated the key elements of Mario’s 2D platformer adventures so seamlessly into 3D, while also establishing a new set of rules for 3D platformers. I mentioned how Ocarina of Time follows the same blueprint as A Link to the Past, only in 3D. But Super Mario 64 is structurally a very different game than Super Mario World, though it retains enough key elements of Mario’s past (jumping is important) to still make it feel like a proper follow-up. And just like the 2D Mario games before it, Super Mario 64 has stood the test of time.
Okay, okay. So obviously the visuals scream 1996 (compared to Super Mario World’s sprites, which look just as colorful as they ever did), and the camera can be a pain at times. And like Ocarina of Time, I don’t think Super Mario 64 boasts one of the better soundtracks in its series, despite a few standouts (Dire, Dire Docks comes to mind). So maybe Super Mario 64 isn’t the most timeless Mario game, but for a launch game on the Nintendo 64 to still be this much fun to play? That’s got to be some kind of small miracle.
The camera may be a bit tricky to handle, but Mario himself controls just as he should. It’s hard to describe, but the sense of control Mario has just feels right. Then we have fifteen big levels to explore, a host of bonus stages, and the best hub world in gaming history (don’t even argue). Mario must explore every nook and cranny of these locations; fighting monsters, racing penguins, flying through clouds, swimming with dinosaurs, and a plethora of other objectives to claim those elusive power stars that can break Bowser’s curse on Peach’s castle and its occupants.
Sure, the graphical and mechanical limitations are present. But Super Mario 64 was so forward-thinking in its ideas and so polished in its execution, that this 1996 Nintendo 64 launch title can still claim to be one of gaming’s greats. Proof that fun knows no age.
There you go, my top 10 Nintendo 64 titles to play today! Although I suppose I haven’t played every Nintendo 64 game (I recently purchased the two Goemon N64 games, which I’ve heard good things about, so I guess I’ll see if those deserved a spot here soon). But I think I’ve played so many of them over the years, that my experience on the subject has some merit. I like to think so, anyway.
It’s hard to believe the Nintendo 64 is over twenty-five years old now. It’s as old as the movie Twister, and the Tickle Me Elmo!
Thanks for reading, and I hope this list could bring back some fond memories, or inspire you to pick up one of these games again, or even help you discover them (okay, that last one is a lie. No one is discovering these games from my blog). At any rate, I hope you enjoyed!
That’s right, Kevin! The big day has finally arrived! It’s Wizard Dojo’s ONE-THOUSANDTH post! Huzzah!
This has been a long time coming. Both because it took a long time to write 1,000 posts, and also because my updates have been so slow these past few months it really dragged this out. But how great to finally be here, eh?
Here’s the short film “Fresh Guacamole” by PES, the shortest film ever nominated for an Oscar!
Ah, yes. Everything about that short is satisfying.
A big thank you to everyone who reads this blog, and double thank you to the people who have been reading it for a good while and stuck with it. And an additional thank you for the people who read it in the past, forgot about it, and then came back to it. You’re like Palpatine: somehow… you returned!
To quote the great philosopher Herman Munster: “I would like to thank all the little people who helped make this possible… I would like to, but I can’t, because I did it all myself.”
Have I referenced that before? Seems like I have. Ah well, it’s a great quote, and Herman Munster was a badass. So I regret nothing.
Anyway, what are we doing spending so much time on the thank yous? Let’s get down to business (to defeat the huns)! Let’s dedicate the rest of this thousandth blog milestone to a number of things I’ve been meaning to write for a good while, presented as different ‘chapters.’ You know, like Paper Mario. Back when Paper Mario was good.
Chapter 1: My Favorite Film of 2020
Finally! It’s been a long time since I revealed my favorite film of the year before the last few months of the next year. I mean, I’m still really late in doing this, and for that, I apologize. But it’s an improvement.
Go ahead and call me repetitious, but my favorite film of 2020 was an animated film. And no, it wasn’t Pixar’s Soul.
Sure, people might say I’m biased, as every year that I’ve named my favorite film of the year ever since I launched Wizard Dojo, the winner has been animated. But I’d argue that we’re simply in a great era of animated filmmaking. You always hear people complaining that movies these days are “getting worse” or that they’re dumbed down, but I believe people who say such things are ignoring the animated side of things (which, sadly, seems likely). Sure, maybe blockbusters are getting repetitious, art films are getting too self-absorbed, and indie films ironically feel like they’re coming off a conveyor belt. But animated films have continued to shine throughout the new millennium. So fans of animation, such as myself, are witnessing a kind of golden age for the medium.
Is that enough needless justification for my stance? And is it really such a bad thing in the first place? I mean, the Oscars select the same kind of dramas year after year (and continue to lose ratings. I wonder if there could be a connection there). So is it such a crime that some random dude on the internet is won over by animated films time and again?
Anyway, let’s cut to the chase. My favorite film of 2020 is…
Director Tomm Moore and his studio “Cartoon Saloon” have provided some of the best animated features of recent memory. Although Wolfwalkers is only the studio’s fourth feature film (and Moore’s third), the artistry and craftsmanship that has gone into them ascends them near the very top of the animation totem pole. Moore’s previous film, Song of the Sea, was one of my favorite films of the 2010s full stop, and Wolfwalkers is a more than worthy follow-up, being the best film of 2020 in my book.
Moore, who has appropriately been dubbed the “Irish Miyazaki,” has made three stunningly beautiful, hand-drawn fairy tales that are among the few works that deserve that Miyazaki comparison. There is an emotional depth and sensitivity to Tomm Moore’s films that make you feel for their stories and characters right from the get-go. Here’s a filmmaker who intimately understands fantasy storytelling, and makes films aimed at children that never once talk down to their target audience. They’re equal parts fun and captivating to audiences of any age.
Wolfwalkers tells the story of two girls: Robyn Goodfellowe, a hunter’s daughter, and Mebh, one of the titular Wolfwalkers, a being who takes the form of a wolf when her human body sleeps. While the two girls’ burgeoning friendship that serves as the heart of the story will certainly entertain kids (especially Mebh), the film also has a lot to say from a societal and philosophical perspective. Robyn is continuously forced to toil in a scullery, her proud father is reduced to being the whipping boy of a fanatical general, and poor Mebh and her wolves are in constant danger simply for existing.
I love this movie. It’s deep and beautiful and fun and magical, like all the best animated fairy tales. Pixar’s Soul was a good movie (though far from Pixar’s best), it had some important things to say, but often stumbled in trying to express them. Wolfwalkers didn’t suffer those issues. It’s a film that shows how everyone wants (and deserves) their freedom, though society doesn’t always seem to want that for them. It just so happens that those issues are told within a lovely fable of profuse visual splendor.
Song of the Sea was one of my favorite films of the 2010s (hopefully I’ll make a more concrete list on the subject soon), and seeing as I think Wolfwalkers is the best film of the only finished year of the 2020s as of this writing, I guess that makes it my favorite film of this decade so far. Together with 2009’s The Secret of Kells, Tomm Moore’s output already reads like an all-time great.
Chapter 2: Some Changes
Wizard Dojo has been around a few years now, and in that time I’ve written hundreds of reviews for video games and movies. I originally used a .5-based 1-10 rating scale when this site launched in 2014. In 2018 I converted to the more streamlined 1-10 scale using only whole numbers (and altering every score accordingly). Sometimes I miss the ol’ 9.5s and 8.5s, and wonder if I made the right choice. But then I remember that any of the “.5” scores below that are insanely arbitrary, and that confirms I did indeed make the right choice. I mean, what the hell is a 3.5, anyway?
What I’m getting at here is that I’m no stranger to altering some scores when need be. And I do feel that, with this 1,000th blog milestone, I may use this as an opportunity for another soft reboot of sorts. I have been tempted to change the scoring system again (like an A to F scale or something), or even omit it entirely, but I’m not going to do anything that drastic right now. But I do think I will be reviewing some of my past reviews (review-ception!), and altering them every here and there.
Some might say that’s unprofessional to change scores. But come on, people’s opinions change, they might see things in new lights. It’s not like I’m grading algebra papers and there are definitive right answers here.
Interestingly (to me, anyway), this all mostly applies to the video game side of things, though there may be some movie review score I might adjust. I guess there’s just something about the interactivity of games that makes it all more flip-floppy.
Some video game scores I’ve already altered. Others I may have to replay a bit so I can make the proper changes to the written review itself (which is the actual review, after all. The scores are just numbers to easily sum it all up). Though keep in mind it may take some time to get around to re-writing.
Some games whose scores have been altered include:
Kirby’s Dreamland 3 (SNES) – Promoted from an 8 to a 9/10: It’s the best Kirby game, and one of the most charming games ever made. Also one of the greatest (and tragically underrated) art styles in the medium’s history. Why haven’t the Animal Friends introduced here made subsequent appearances? Nago the cat is my home skillet!
Tetris Attack (SNES) – Promoted from an 8 to a 9/10: Honestly, Panel de Pon is one of the best falling block puzzle games of all time (even if the blocks don’t actually fall, but rise). The addition of the Yoshi’s Island characters, story and music of its Tetris Attack incarnation makes it the best version of the game. If only this version could see a re-release…
Castlevania: Aria of Sorrow (GBA) – Promoted from an 8 to a 9/10: I say this as a Nintendo fan, but when it comes to Metroidvania, I actually prefer the Castlevania side of things. Though Symphony of the Night is (rightfully) hailed as the best entry in the series, Aria of Sorrow on the Game Boy Advance comes closer than you might think. For a game to reach similar heights and depths to Symphony of the Night with the limitations of a handheld console in 2003 is one hell of an achievement.
Dark Souls 2: Scholar of the First Sin (PS4) – Demoted from an 8 to a 7/10: Despite the extreme views fans of the series may have, Dark Souls 2 is not a disgrace to the series. But I will admit it is the weakest entry of the SoulsBorne series nonetheless. The limited spawns of enemies can make it difficult if you need to pick up additional souls and items, but can also be a strange combination of easy and tedious if you re-light the bonfires after the same few enemies over and over just to exhaust their spawns and clear your path. And don’t get me started on the Shrine of Armana. Beautiful to look at, but the worst area in the entire series to play. Blech!
Mario + Rabbids: Kingdom Battle (Switch) -Demoted from an 8 to a 7/10: Mario + Rabbids is a good game. The simple fact that it’s a good game involving the Rabbids is some sort of small miracle of its own. No one expected much out of it when it was released in 2017, but it ended up surprising people, myself included. While I still think it’s a good game, in retrospect I think maybe that surprise factor may have boosted our opinions of it. Yes, it’s a fun tactical RPG, but when I started replaying it some time ago, its flaws were more apparent. Primarily, its trial-and-error approach, which may work in a faster paced game. But in a turn-based, tactics RPG? It makes things a little too slow. Still a good game, I want to stress that, but not one of the best Mario spinoffs.
Battletoads (NES) – Demoted from a 5 to a 3/10: Ah, Battletoads! I seem to keep going back and lowering my score to this one. I feel kinda bad about that, since some people still swear by this game. But the sad truth is that the so called “legendary challenge” of Battletoads is more accurately described as “poor game design.” The game presents its levels as challenges that require one-hundred percent accuracy, yet the actual mechanics of the game are so stiff and clunky, that they just don’t allow the precision that the game demands. Some might say I just need to “git gud.” But if you don’t mind my bragging for a second, I get the platinum trophies in Fromsoftware games. I’m fine with a steep challenge. Battletoads is just a bad game. At least the music’s good. And I hear that newer Battletoads game is actually decent.
Some games whose scores I’ve been thinking of changing include:
Bloodborne (PS4)- Upping it from a 9 to a perfect 10/10: Honestly, Bloodborne is probably the best entry in the SoulsBorne series by Fromsoftware. And being the best in a series that has to be the most influential in the medium for at least the last decade has to amount to something. Maybe I just didn’t have enough insight the first time around to give it a perfect score?
Donkey Kong Country: Tropical Freeze (Wii U/Switch)- Upping from a 9 to a perfect 10/10: Have I bragged up any game more on this site than DKC: Tropical Freeze? It’s hands down the best 2D platformer since the genre’s heyday in the 16-bit generation, has some of the best level design I’ve ever seen. And it has an all-time great soundtrack. Sure, I still wish there were more variety in the bonus rooms, and that there were more Animal Buddies other than Rambi, like in the old DKC games. But is that really enough to deny what is otherwise one of my favorite games of all time a perfect score?
Sonic the Hedgehog 2 (Gen) – Upping from an 8 to a 9/10: The most acclaimed Sonic game of all time, and the most popular Sega Genesis game of all time. It was also my favorite entry back when I was a kid. Though as I’ve gotten older, I do think Sonic 3 and Sonic & Knuckles were improvements. And Sonic Mania probably deserves the crown as the best in the series now. So basically, the reason Sonic 2 is an 8 is because I think it has similar but superior sequels, meaning it’s not the best such game to play today. Still, considering Sonic 2 has held up as well as it has after all these years, am I wrong to not rate it higher than I did?
I have also been considering changing some scores on the movies I’ve reviewed. Namely, depending on how I want to continue with how strict I want to keep my grading, Hayao Miyazaki’s Castle in the Sky, Ponyo, and Princess Mononoke are all worthy of perfect 10/10s (Castle in the Sky, in particular, is probably the best animated action film ever made). The only reason those films sit at 9s is because I’ve currently been doing the whole “minimal perfect scores” things by means of comparing a creator’s works, and only giving their absolute best perfect scores. And since Spirited Away and My Neighbor Totoro are both at perfect 10s, the above mentioned are at 9s. But the more I think about it, that’s pretty bogus. Am I just denying deserving movies of perfect scores just so I look more strict? That’s kind of pretentious of me. Perhaps being more open with my grading is the way to go, at least with movies. Video games seem more appropriate for stricter scoring, for whatever reason.
Or maybe all this is proof that I should do away with all this scoring nonsense…
Chapter 3: 2021 Video Game Awards
Huzzah! I’m getting my video game awards done at the same time as I named my favorite movie of the year! And it only took until mid-June of the next year. I’m really catching up!
As always, my video game awards are presented in mostly-traditional categories. So without further ado… here they are!
Best Sound: Demon’s Souls (PS5)
Is it cheating to award Best Sound to a remake of a game from 2009 that used pretty much the same sounds now that it did back then? If so, well then give this award to Crash Bandicoot 4. If not, then Demon’s Souls has to win.
From Software’s “SoulsBorne” games simply have the most atmospheric sound design in video games. And it all started here with Demon’s Souls. Clanking armors, the shrieks and grunts of some horrible monster around the corner, it’s all here, crisper and clearer than ever. Even the sounds that emanate from the PS5 controller are satisfying.
Given that I’ve awarded Best Sound to Dark Souls II, Bloodborne, Dark Souls III and Sekiro in the past, it seems only fitting that the game that started the Souls lineage should triumph in this category as well.
Best Music: Hades
Supergiant Games are no strangers to memorable soundtracks, and their most recent work, Hades, is no exception. Although the music of Hades isn’t quite at the forefront of things as it were in, say, Bastion, It still provides a mix of atmosphere and heat-pumping action that is more than fitting for the game.
Best Visuals: Demon’s Souls (PS5)
I don’t care if it’s an upgrade of a game originally released on the PS3 in 2009, the Demon’s Souls remake is gorgeous! Perhaps now that we’re deep into 2021, the Playstation 5 has seen more titles that are stronger showcases of the console’s graphical power. But there’s still none that I like to look at more than the Demon’s Souls remake. The textures, the colors, the lighting, everything. New PS5 games be damned. When it comes to pleasing aesthetics, Demon’s Souls has them beat.
Best Multiplayer: Fall Guys: Ultimate Knockout
It’s such a shame so much of Fall Guys’ thunder was stolen by Among Us shortly after release. For one, Fall Guys is a much better game than Among Us (Fall Guys actually has gameplay, which is a bonus), but it’s also sad that such a cute and charming game was on its way of becoming the new biggest thing in gaming, only to be spearheaded by a two-year old game that isn’t half as good.
Still, while Fall Guys’ popularity may have taken a hit, the sheer fun of it hasn’t. I’ve heard some people complain that Fall Guys doesn’t have enough depth to it, but that’s kind of what I like about it. It’s a throwback that suggests that *gasp!* fun gameplay might be enough to have players coming back.
Taking the popular battle royal genre of today, but giving it a lighthearted, platforming twist inspired by shows like Takeshi’s Castle and Wipeout, Fall Guys is always good fun. I still pick it up from time to time and have a blast every time.
Best Remake: Demon’s Souls (PS5)
When I originally played Demon’s Souls, it was after the other Souls games. As such, Demon’s Souls felt like it was lacking in certain areas, and it was easy to see where its successors improved on the experience.
Well, for whatever reason, the PS5 remake won me over much more strongly. Granted, there are some obvious improvements (excess items automatically going to your character’s storage is a huge improvement), but not so many obvious changes that it makes the source of my newfound appreciation for the game too apparent. It’s still very much Demon’s Souls, and there are still some areas that could have used some updating to be more like the subsequent Souls games. Yet somehow, I love the game way more now.
Simply a case of right place, right time? I don’t know. Maybe. But the point is the PS5 remake of Demon’s Souls made me see the game in a whole new, more positive light. I originally thought of Demon’s Souls as the weakest entry in the Souls series by a wide margin. And while it still may not be Dark Souls or Bloodborne, I now feel like Demon’s Souls can more properly be talked about in a similar light. That’s quite the improvement. As such, Demon’s Souls gets Best Remake!
Best Remaster/Re-release: Super Mario 3D All-Stars
Yes, it’s true, Super Mario 3D All-Stars is NOT what it could have been. Nintendo missed the opportunity to really spruce up the visuals of the games, as opposed to simply giving them a coat of HD gloss (which is what they did). The fact that the game lacks any extra features for players to delve into or read up on Mario’s history is questionable. Sunshine’s countless unpolished elements are left untouched. And where the hell is Galaxy 2?
Basically, if one series deserves better, it’s Super Mario.
Even if it were something of a missed opportunity, Super Mario 3D All-Stars still includes two all-time greats in Super Mario 64 and Super Mario Galaxy, and a decent third game in Super Mario Sunshine. You simply can’t go wrong.
Yes, Super Mario 3D All-Stars should have been something more. But considering that 64 and Galaxy are already so much more than most games, maybe we’re asking too much?
Best Content: Animal Crossing: New Horizons
I know that the PS4’s “Dreams” would seem to fit the bill here, considering that people can potentially create entire games within it. But “potentially” is the key word there. As initially amazed as I was with Dreams, it quickly became apparent that the majority of content people made was unfinished at the best of times, and outright crap at its worst. Sure, people made a lot of crap with Super Mario Maker, but you’ll find a lot more excellent Mario Maker stages than you will Dreams creations.
So yeah, Dreams doesn’t win this.
Animal Crossing: New Horizons does win this, however, for the sheer number of tasks you can do at any given time. And in traditional Animal Crossing fashion, you can go about it at your own pace. Between fishing, bug collecting, crafting, digging for fossils, diving, visiting other players, having other players visit you, there’s just always something to do in Animal Crossing. No matter how big or how small.
Between lengthy play sessions and small bursts of play, my total playtime in Animal Crossing: New Horizons stands tall over any other game on the Nintendo Switch. New Horizons is simply a treasure trove of fun things to do.
Best Gameplay: Hades
Hades is a game of surprising depth. Its rogue-like setup and hack and slash gameplay make it instantly engaging, but you’ll constantly be surprised by just how much there is to pretty much every aspect of the game. The six primary weapons, as well as the acquired upgrades and items you get along the way, would already give the game great variety, but combine it with all the powers you gain (and lose) with every run through the underworld, and Hades is a game that’s always changing and evolving.
With so much variety on top of what is already smooth and fun action, Hades is one of the most addicting action games in years.
Best Indie Game: Hades
Supergiant Games are no strangers to making acclaimed independent titles, and Hades is most likely their best work to date. An engrossing, action-packed indie classic that also manages to have a pretty interesting narrative.
Best Handheld Game: Animal Crossing: New Horizons
Now that I’m including Nintendo Switch titles for the title of Best Handheld Game, this was a really tough choice between Animal Crossing: New Horizons and Hades. In the end, I went with Animal Crossing, simply because it can be easier enjoyed in short bursts as well lengthy play sessions, which seems ideal for gaming on the go, while Hades is a little more demanding of your time. Hey, I had to pick one, okay!
New Horizons may not be the first handheld Animal Crossing, and I understand the complaints some have that it’s lacking some of the features of its 3DS predecessor. But New Horizons is still a prime example of why the series works so well on handheld platforms. Its relaxing “play at your own pace” gameplay, and the hidden depth therein, make it a perfect fit for gaming on the go.
Best Platform: Nintendo Switch
Uh oh, I gave the nod to Nintendo over Sony. According to the internet, that makes me a blind fanboy. But c’mon, the PS4’s biggest game of 2020 was an overhyped sequel to 2013’s most overhyped game, and the new, state-of-the-art PS5’s best game was a remake of a PS3 game. 2020 may not have been the Switch’s best year, but Animal Crossing and Hades alone really helped propel it.
Maybe a B+ year for Switch overall, but it still managed to shine brightest.
Game of the Year 2020: Animal Crossing: New Horizons
I only played Hades more recently, and that recency bias almost forced my hand to name it Game of the Year. It certainly would be a deserving choice, to be sure. However, I started thinking about those first few months Animal Crossing: New Horizons came out, the countless hours I poured into it, and how it basically ruled the minds of all those who played it.
Importantly (and go ahead and call this cheating), those first few months coincided with the first months of the dreadful Covid-19 pandemic. In such a dark time, Animal Crossing: New Horizons was that tiny ray of light that brought some happiness and normalcy to the world. That’s something that can’t be taken for granted.
Both Animal Crossing: New Horizons and Hades are worthy for the title of best video game of 2020. But due to unprecedented circumstances, it’s the latest iteration of Animal Crossing that I feel deserves to take the honors.
Though even without said circumstances, Animal Crossing: New Horizons has so much going for it. Yes, the coffee shop and a few other features from the 3DS version are absent, but what is present represents Animal Crossing at its peak. Collecting items, building up your island, visiting friends, hording those sweet, sweet bells. Few series provide such simple enjoyment as Animal Crossing, and New Horizons provides it better than the series has before.
Now if you’ll excuse me, I have to get back to my island and pull some weeds…
Runners-up: Hades, Fall Guys: Ultimate Knockout, Crash Bandicoot 4: It’s About Time
Chapter 4: SomehowPalpatine Returned
No, I don’t care to elaborate.
Chapter 5: Where We’re Going We Don’t Need Roads
First, some apologies. I’m sorry my site has really slowed down with the updates since the last quarter of 2020. Things looked like they would improve in 2021 when I reviewed all five Oddworld titles (before SoulStorm’s release) in January. But since then, I’ve slowed right back down again. For the first time since I launched this site, May of 2021 was the first month where I didn’t post a single update. And for this slowness, I apologize.
On the plus side, as I’ve been writing this 1000th post, I’ve also written a few additional reviews, which I will make public in the days following this celebratory post.
I’m hoping that my updates will once again pick up in the coming weeks and months, though I do have to admit my actual reviews for movies and video games may not be as frequent as they once were. Simply put: I can’t keep up with them all. As much as I would like to review every game that catches my eye and every movie I see, that’s just not possible, unless this were to somehow magically become a full-time job.
By this I mean that, in the past, I would often buy games (sometimes when I really didn’t have the money to spare) just so I could get an extra review on this site. To give myself a compliment, I feel that commitment to something (in this case, creating content for a website) is admirable. But if I’m being realistic, I just can’t keep up with that pace (notice I still need to actually write my reviews of the aforementioned Animal Crossing: New Horizon and Hades). Partly because of life, and partly because (as I’ve complained about so many times) modern video games are just too damn long. And of course they’re expensive. As for movies, well, there’s just so many of them, and while I appreciate movies of all kinds, I admit there are certain types of films that I certainly enjoy writing about more than others (or, at the very least, where the writing comes to me more naturally than others).
Don’t worry, I still hope to pick up the pace and get a steady flow of content in the future. But, aside from my 400th video game review milestone (which I’m just so close to already), I won’t be rushing myself to get to the next big milestone for a while. Maybe expect a small handful of reviews every month, and maybe an additional piece of writing and (hopefully) a top 5/10 list. I’ve been meaning to catch up on making such lists, so maybe an easier flow of reviews will help me finally get to those lists.
Another reason why I may not be racing to get as many reviews done as possible is – as I’ve stated so many times in the past I’m now kind of tired of saying it and not pulling through with doing it – I would like to get started on other creative endeavors. Doing something in a video format would be interesting, and something I’ve given a lot of thought into for quite some time, so maybe it’s time I finally do it (I could always post those videos here as well). And more importantly, I really need to start delving deeper into learning video game development. I’ve never been one who could just simply enjoy things like movies and video games. I’ve always wanted to make my own creations, ever since I was a kid.
While I will continue to update this site as much as possible, suffice to say if I were given the choice between reviewing stuff made by other people, or making stuff of my own, the latter option is the one I would describe as my dream come true. So it’s about time I started taking the appropriate steps to making that dream a reality.
So don’t worry, Wizard Dojo isn’t going anywhere. I just have other things to do, and places I need to be.
Chapter 6: Top 10 Video Game Launch Titles (2021 Edition)
Here we are at the THIRD edition of my list of the best video game launch titles. The first time I did it was a simple top five (with runners-up) that I posted on the launch day of this site. The second was a proper top 10, and happened in 2018, when I did a sort of “soft reboot” for this site. Since I like to think this 1000th post constitutes another kind of new beginning for Wizard Dojo, it seemed appropriate to include a third edition here.
So here now is a (slightly) updated installment to my list of the best launch titles in video game history. The games that released right alongside their console (sometimes in the same box!) and set a high standard right out of the gate. Oh, and keep in mind these entries were all released on the same day as their consoles, so even though Super Smash Bros. Melee and Pikmin are often considered launch games for the GameCube, they were only released around the same timeframe, not the same day. So they aren’t here.
So here now – again – are my top 10 video game launch titles!
10: Demon’s Souls (Playstation 5)
The Playstation brand has produced some great consoles. But you know something, they’ve never really been too good with launch titles. Every time I think of great video game launch titles, I can’t say a whole lot of games from Sony’s consoles come to mind (and by that I mean none do). Well, it looks like the PS5 has finally given the Playstation brand it’s first truly great launch title… and all they had to do was remake a Playstation 3 game from eleven years earlier.
Okay, perhaps Demon’s Souls on PS5 is a little something of a cheat. But it’s also the first time a Playstation console has had something truly great right out of the gate, so that has to count for something, right?
Although some of Demon’s Souls’ design choices may be rough around the edges when compared to the subsequent Souls games, the PS5 remake does a great job at streamlining some of the more cumbersome elements of the original 2009 game to bring this influential title a bit more up to date.
Sony may still be waiting on that launch game that really encapsulates what its console is all about, but Demon’s Souls’ intricate combat, deep design, and unforgettable world make it the best game to launch alongside a Playstation console to date.
9: The Legend of Zelda: Twilight Princess (Wii)
In its earlier years, Nintendo would use its star franchise, Super Mario, to ring in a new console. But in more contemporary times, it’s Nintendo’s other premiere franchise, The Legend of Zelda, that simultaneously ends one console and ushers in the next. This unique trend started in 2006, when The Legend of Zelda: Twilight Princess closed the door to the GameCube and helped bring about the age of the Wii.
Like Demon’s Souls on PS5, Twilight Princess was perhaps not the best showcase of the Wii for this reason (the motion controls were kind of tacked on, but still fun), but the sheer quality of the game itself has to earn it a spot on the list. It’s certainly the ‘biggest’ of the traditional Zelda titles, featuring terrific dungeon design and some of Link’s greatest gadgets and gizmos.
With the two follow-up console titles in the series trying to change up the Zelda formula (to varying degrees of success), Twilight Princess is kind of like the last traditional Zelda game. That gives the game something of a bittersweet appeal in hindsight. But if Twilight Princess were to be the last traditional Zelda title, it was a high note to go out on.
Perhaps Twilight Princess isn’t the most “Wii” of Wii games. But its still one of the biggest and best Zelda titles, and Wii owners didn’t even have to wait to play it (unless they played a certain other launch title first).
8: SoulCalibur (Dreamcast)
Yes, SoulCalibur was originally in arcades. But its port to the Sega Dreamcast as part of that console’s launch was considered a nearly-perfect port of the weapons-based fighter. Considering even the likes of Street Fighter 2 and Mortal Kombat were considered to have sacrificed some quality in the transition to home consoles, it’s quite the achievement.
SoulCalibur was to 3D fighters what the aforementioned Street Fighter 2 and Mortal Kombat were to 2D ones. Intricate combat coupled with a varied cast of characters made for a deep fighter. And with the Dreamcast version losing nothing from its arcade counterpart, SoulCalibur was, at long last, the “arcade at home” experience fans had been looking for. It’s still one of the most acclaimed video games of all time! Also, jiggle physics!
Sonic Adventure was another memorable launch title for the Dreamcast. Though I’d be lying if I said Sonic Adventure stands the test of time, even with my nostalgia for it. SoulCalibur, on the other hand, has held up surprisingly well. Considering SoulCalibur was a pioneer in the 3D fighter genre, that timelessness is all the more impressive.
The SoulCalibur series may not be as acclaimed as it once was. But rest assured, the original’s place in video game history is well secure.
7: Halo: Combat Evolved (Xbox)
Dang, it hurts to put Halo at only number seven on this list. Honestly, it’s at this point where things got reeeally hard to rank, even this third time around. Make no mistake about it, however, Halo’s placement is no indictment of anything it did wrong as a launch title. It’s only a testament to the accomplishments of the remaining games on this list.
Without Halo, would the Xbox brand be such a prominent force in gaming today, twenty years later? I honestly don’t think it would be. Remember, the original Xbox was competing with the white hot Playstation 2 (and to a much lesser extent, industry mainstay Nintendo with the GameCube). Without something truly memorable at launch, the Xbox brand may have been doomed to have just been “that other guy” in the video game console equation.
Thankfully for Xbox, it had Halo.
Goldeneye 007 may have been the game that made first-person shooters work on home consoles, but it really has nothing on Halo.
Halo streamlined what needed fixing in the genre (only two weapons at a time, so no more endless cycling through your arsenal to find the weapon you’re looking for), and also added so much to it. The multiplayer of course speaks for itself. Anyone who owned an Xbox spent countless hours with friends and family in deathmatches and capture the flags. But for a great change of pace for the genre, Halo even included a great single-player campaign that was worth playing again and again. You could even play said campaign with a second player!
Don’t get me wrong, there were plenty of good games on the Xbox, but suffice to say Halo’s appeal transcended all of them. It wasn’t until its own sequel hit store shelves three years later – with added online functionality – that Halo: Combat Evolved was usurped as the biggest game on the console.
6: Wii Sports (Wii)
Maybe I just shouldn’t make these lists, because placing Wii Sports at number six is kind of killing me. No, it’s not the deepest game on this list, but it – perhaps more so than any other game – expresses exactly what its console is all about. Sure, Twilight Princess filled the need for a new installment in a beloved Nintendo franchise, but it was also originally conceived as a GameCube title. But Wii Sports was the Wii game.
Wii Sports is good, simple fun. Anyone, no matter their prior experience with video games, could pick it up and play. You had five sports included (tennis, golf, bowling, baseball and my personal favorite, boxing), all of which were played with motion controls. Simply move the Wii remote, and the character would move accordingly. It’s kind of weird how so few other games (on Wii and elsewhere) would end up utilizing motion controls half as well. Wii Sports came right out of the box, and got everything so right.
Oh, and you can’t forget the Miis. These simplified, player-created avatars became such a staple for Nintendo, that they continue to this day on Nintendo Switch, surviving long after the Wii name itself. Wii Sports just wouldn’t have been the same without them. Seriously, imagine the same concept of a game, but with a realistic looking baseball player. It’s just not the same, is it?
Wii Sports was just that perfect storm of components. Its simple, addictive, player-friendly gameplay combined with the innovation of the console itself made it an unforgettable experience. Even with a new Zelda ready and waiting, Wii Sports was the first place most Wii owners went to on their homepage (well, maybe after the Mii Channel).
No doubt the appeal of Wii Sports helped the Wii become the phenomenon that it was, which in turn helped gaming as a whole become more accepted as a mainstream pastime.
5: Tetris (Game Boy)
Although Tetris actually predates the Game Boy, it’s on Nintendo’s original handheld juggernaut where it became a phenomenon. It was a match made in heaven: Tetris’s simple gameplay of aligning falling blocks worked perfectly for the handheld console. Tetris was the kind of game you could play for a few minutes or for hours at a time (provided you had the batteries).
Sure, being on the Game Boy may have brought Tetris worldwide recognition, but I’d argue Game Boy was the real beneficiary for having Tetris be a part of it. No doubt the infectious, deceitfully deep gameplay of Tetris helped boost the Game Boy’s sales early on, and even throughout its lifetime.
Other titles such as Super Mario Land, Kirby’s Dream Land and The Legend of Zelda: Link’s Awakening helped the Game Boy continue to grow, and the Game Boy is one of the only consoles (maybe the only one) to get a second life when it was supposed to be at its end, due to a little game called Pokemon. But the Game Boy would have never made it to Pokemon if it weren’t for Tetris. This falling-block puzzler even went on to transcend the Game Boy and consoles themselves, being released on virtually any available electronic and digital platform in existence at this point.
To this day, Tetris remains one of the best games of all time. The Game Boy may have helped Tetris in its ascension towards world domination, but I don’t think it’s a stretch to say Nintendo’s long dominance in the handheld gaming market (which even continues today with the Nintendo Switch) owes a lot to the fact that Tetris was available on the Game Boy right from the get-go.
4: Super Mario Bros. (NES)
I have to stress this every time: if we’re going by influence alone, Super Mario Bros. would top this and every other list. Although it may seem hard to believe nowadays with how far video games have come since, but no game showcased a bigger leap from what came before than Super Mario Bros. did in 1985.
The sheer fact that Mario could start one level on land, enter a pipe, and then be submerged in water with accompanying mechanics, was unlike anything else at the time. Before Super Mario Bros., if a game was going to be underwater, then that’s what the game was in its entirety, all on a single screen.
Super Mario Bros. brought adventure to video games. Even better, it did it while also having pitch perfect gameplay. It set the standard of forward-thinking ideas and flawless execution that would come to define the series. It singlehandedly made the NES the console of the 80s and set the stage for Nintendo’s many other franchises to follow. Not to mention it did it all during something of a dark age for the video game medium. Its impact and influence can’t be overstated.
Sure, there are plenty of better Mario games now (a couple of which you’ll be seeing on this list), but the original Super Mario Bros. remains a timeless classic in its own right. Which is no small feat for an NES launch game.
3: Super Mario 64 (Nintendo 64)
If one of a launch game’s biggest jobs is to showcase what a new generation can do that its predecessors could not, than no game has ever matched Super Mario 64 in that regard, and I don’t believe one ever will.
Super Mario 64 wasn’t the first 3D video game, but it may as well have been, as it was the first to truly bring the concept to life. For the first time, a character could roam freely in a 3D environment, player’s could go about the game world as they pleased. And thankfully, the exquisite design Super Mario had been known for remained fully intact.
Just as Mario reinvented video games in 1985 with Super Mario Bros., he did it all over again with Super Mario 64, this time elevating 3D gaming from a mere novelty into being the direction the medium would traverse going forward.
It may be hard for some to appreciate these days with how far gaming has come, but the sheer act of moving Mario around the courtyard of Princess Peach’s castle was a revelation. Mario now had acrobatic moves, like a triple jump, a wall jump and a punch/kick combo. Some of his moves (like that weird crouching, breakdance-like kick) seemed to exist just because they could in Mario’s new 3D environment. Never before had the sheer act of controlling a character in a video game felt so special, and it’s seldom been approached since.
Sony’s Playstation was the new kid on the block at the time. It may have been the “cooler” console with the fresher faces. But it was one of gaming’s oldest icons who paved the way for the future.
2: The Legend of Zelda: Breath of the Wild (Nintendo Switch)
History repeated itself in 2017 when – just like Twilight Princess simultaneously ended the GameCube era and ushered in the Wii eleven years earlier – The Legend of Zelda: Breath of the Wild, after many delays, closed the book on the ill-fated Wii U and started a new chapter for Nintendo with the Switch. Though this time, instead of a hefty traditional Zelda title, we had one that reinvented its series.
At the expense of saying something controversial, Ocarina of Time had held the Zelda series back for too long. While Mario was constantly changing the rules of his series, Link’s adventures felt like they didn’t want to walk too far out of Ocarina’s shadow (itself kind of an extension of A Link to the Past’s shadow, if we’re being honest). They remained great games, to be sure. But their more conservative tendencies may have prevented them from building stronger individual legacies.
Thankfully, The Legend of Zelda: Breath of the Wild changed all that, rethinking and rewriting the rules of how Zelda games are played. Hyrule was now a vast open world, Link has a constantly changing arsenal of weapons, he learns all of his key abilities right out of the gate, you can even go straight from the beginning of the game to the final boss, if you’re brave or fool enough.
Nintendo previously seemed to think making such drastic changes to The Legend of Zelda would have been sacrilegious, but the changes Breath of the Wild brought with it should only restore faith into the Zelda series. Breath of the Wild is as fun and deep as any entry in the franchise, but is swimming in ideas and concepts that are all its own.
Yes, it was originally planned as a Wii U exclusive, and who knows how that system’s fortunes may have differed had things gone to plan. But like Twilight Princess, its late-game transition to the next console in line gave it that special feeling that only the best launch games can generate. And Breath of the Wild is so good, it should rank near the top of any list of launch titles.
But there is one greater still…
1: Super Mario World (Super NES)
On the surface, Super Mario World may seem like it’s “merely” a bigger sequel to the NES Mario games, but it shouldn’t take long to realize it’s so much more than that.
While Super Mario Bros. 3 introduced the world map into the equation, Super Mario World turned the world map into a level itself. Now stages included multiple exits, the map featured branching paths, there were secret worlds, and secret worlds inside of secret worlds! You could unlock new paths in earlier levels within the later levels of the game, and find warps to travel to different points in the world map. You could try to find the quickest route to take down Bowser, or uncover every last one of Super Mario World’s many secrets, essentially creating both speedrunning and completionism as we know them today in one fell swoop.
Levels were no longer completed simply by going left to right. Now, Mario often had to travel upward, downward, over and into the levels themselves to find every hidden exit. Metroid and Castlevania (the collective “Metroidvania”) understandably get credit for their emphasis on exploration, but Super Mario World kind of beat them to the punch.
World refined the flight mechanics introduced in Super Mario Bros. 3 through the now-iconic Super Cape power-up, which allowed Mario to travel and explore levels like never before. More importantly, Super Mario World introduced us all to Yoshi! The adorable dinosaur was a (literal) game-changer, and became so popular he starred in games of his own soon after. Has any character addition in a video game sequel ever had a bigger impact?
Something few people seem to mention about Super Mario World these days is that it was the first example of a new entry in a beloved franchise launching new hardware. Though Mario is a constant presence in gaming now, Super Mario World had to prove that to be the case. If the game failed, the Super Mario series may have faded with the NES. So Super Mario World had a hefty task at hand in proving Mario wasn’t simply a product of the 80s. Suffice to say it passed the test with flying colors.
Super Mario World showcased nex-gen capabilities in a way not dissimilar to Super Mario 64 (Yoshi simply wasn’t possible in the NES Marios), and features the same kind of franchise reinvention that would later define Zelda: Breath of the Wild. And it ensured Mario was here to stay.
30 years ago, Super Mario World showed us the best way to introduce a new console. And now, 30 years later, it hasn’t been matched. The best launch game of all time.
Honorable mentions: Sonic Adventure (Dreamcast), Luigi’s Mansion (GameCube), Nintendo Land (Wii U), New Super Mario Bros. U (Wii U)
Chapter 7: The Last One
Did I say the chapters in this post made it like Paper Mario? But I only made it to seven chapters, as opposed to eight… So I guess it’s more like Bug Fables. Still better than Sticker Star, Color Splash or Origami King. That’s for damned sure!
Yes, sadly, we come to the end of my one-thousandth post. There were some other things I wanted to include in here, but seeing as it took me so long just to get this done, they’ll have to wait for another day. I mean, I haven’t posted anything in two months! I can’t keep delaying this.
So I wasn’t able to make this 1,000th blog post everything it could be, but I hope you had some fun despite this. I’ll keep those additional ideas handy, either as their own posts (which might get them more traffic anyway, come to think of it), or as part of my Christmas Special or some other such post. Hopefully this site won’t have another draught like that between my review of Raya and the Last Dragon and this 1,000th post for quite some time.
Thankfully, I have a few movie and video game reviews that I’ve completed as I wrote this in bits and pieces. They’ve just been waiting for me to post this 1,000th post (so that it would actually be the 1,000th post). So now I can start posting those reviews in the coming days.
Now if you’ll excuse me, I must be off now. There’s more writing to be done, and all of that other stuff I mentioned earlier, too.
Once again, a very big thank you to everyone who reads this site. It’s been a fun ride, these past 1,000 blogs. Here’s to one-thousand more. And a lot more after that. It’s not like I plan to stop at 2,000 or anything. Why am I explaining this to you? You knew that “here’s to one-thousand more” doesn’t mean “and that’s it.”
Thanks for stopping by! Keep on keepin’ on! And have a nice day!
Secret Bonus Chapter: Chapter 8: Ranking the Paper Mario Games!
Wait? You mean there are eight chapters here? Well then, I need to think of something to write…
I got it! With the above mention of Paper Mario, here is my “unofficial” ranking of the Paper Mario games (unofficial in that I haven’t played some of the entries in many a year, and am mostly going by memory). Hopefully I can get around to replaying the entries I haven’t reviewed (including slogging my way to the end of Origami King), as I would like to properly review them all some day.
Anyway, here’s my ranking of the Paper Mario series.
7: Paper Mario: Sticker Star
Tragically, Sticker Star kind of marked the end of Mario RPGs. The Mario & Luigi series would continue with two more entries afterwards, but both Dream Team and Paper Jam (the latter of which served as a crossover between Mario & Luigi and Paper Mario) were watered down disappointments of what came before (Dream Team at least still had some original characters, but Paper Jam went all in with the bizarre “No more originality allowed!” mentality that Sticker Start started). This isn’t about Mario & Luigi, though, it’s about Paper Mario.
That’s the sad thing about it though, Sticker Star effectively killed everything people loved about Paper Mario. No more RPG elements, no more partners, no more original characters, no more strategy, no more…anything really.
But at least it had that sticker gimmick! Guh-hyuk! Let me see if I can make any sense of Paper Mario: Sticker Star’s Sticker mechanic: Instead of Mario and a partner having their own moves for battle, all of Mario’s actions used consumable stickers. Because this game hates RPGs (while still using a turn-based battle system), you didn’t gain experience points and level up to get stronger. Instead, your rewards for winning battles were either A) more stickers or B) coins…for buying more stickers. So you use these consumable items in battle, so that you can get more of these consumable items for battle… There’s absolutely no point to the battle system.
Worse still, boss fights could only be won by using very specific stickers (I think they were referred to as “Things.” The creativity is just astounding). Without those “Things” the boss fights were literally unbeatable. So again, no strategy, just use the boss-specific “Thing” and that’s it, you win!
Honestly, I think Sticker Star is up there with the likes of Metroid: Other M as one of the worst games Nintendo has ever made. It killed the Mario RPGs. That right there is heartbreaking.
6: Paper Mario: The Origami King
It was tough deciding which game was worse between Color Splash and Origami King. While Color Splash continued with Sticker Star’s nonsensical formula, it at least improved it somewhat. But Origami King tried to (needlessly) change up the Paper Mario formula once again, and created something that was every bit as pointless as Sticker Star (though with maybe some added charm). So I decided Origami King is the worse of the two.
The thing that really irks me about Origami King is how it pretends like it’s trying to reach out to fans of the original Paper Mario games. It acts like partner characters are back, except these partners are controlled by AI, have literally one attack (which usually misses anyway), and are characters like a generic Bob-omb named Bob-omb! The Bob-omb named Bob-omb even mentions that he used to have a friend, a fellow Bob-omb who was also named Bob-omb! Isn’t that totally funny? It’s not like it’s an example of the many drawbacks that come with the series’ bizarre enforced limitations to not introduce original characters or anything.
Then there are the battles. Origami King would have you believe proper turn-based battles made a comeback, but again, it’s just a huge gimmick where you have to line up enemies in a set amount of time, and though the items aren’t one-time consumables anymore, they still wear out eventually and you have to replace them. Naturally, you don’t gain experience points or level up for battling, you just get coins to buy more items for battling that wear out during battle. Again, what’s the point?!
And don’t get me started on boss battles, where you have to move to a certain space on the board in order to attack the boss, but the bosses can often change the board around as you’re moving, rendering your strategy pointless.
All the more baffling is that these changes were made to supposedly make the game more kid-friendly. But it’s so convoluted I can’t imagine very many kids would have much fun with it. Kids seem to like the RPG elements of Pokemon, so what was so bad about Paper Mario being an RPG again?
5: Paper Mario: Color Splash
The Wii U edition of Paper Mario was revealed to little fanfare. Probably because it decided to go the same route as Sticker Star, and Nintendo knew people wouldn’t be happy about it. It’s one of the most obnoxiously stubborn video games ever made.
At the very least, Color Splash is an improvement over Sticker Star, even if it shares many of its poor design choices (consumable items for battle, no partners, bosses that require the use of a specific item). Though at least this time around, there was some semblance of character progression, since Mario needed to paint the environment with his hammer, and battling could result in Mario levelling up his hammer to have more paint. Hey, any improvement over Sticker Star is something.
I suppose at the very least, Color Splash’s insistence in following suit with Sticker Star meant it didn’t pretend like it was trying to bring back old fans as well, like Origami King would eventually do. Stubborn though it may be, at least this entry was honest.
4: Super Paper Mario
I’m going to be a little controversial here, because some people absolutely love this game to death. But I feel like Super Paper Mario is where things started to go wrong for the series. Now, it’s not a bad game like Sticker Star, but it did start the trend of Nintendo and Intelligent Systems way overthinking what changes needed to be made to Paper Mario.
Change can be a good thing, of course. The mainline Mario series is always changing, and it’s a big reason why I think it deserves its praise as gaming’s best series. But did Paper Mario really need to change so drastically by its third entry?
To be fair, at the time, Super Paper Mario’s changes were a one-off experiment. That’s fine, but it’s a shame Nintendo decided from then on out, Paper Mario needed to be completely revamped.
I have fond memories of Super Paper Mario. It was fun, funny, and contained some original ideas. It abandoned the turn-based nature of the previous two Paper Marios in favor of a platformer with RPG elements. It’s not a terrible idea, though the fact that the mainline Mario games are already platformers does make the change a bit questionable. Maybe a more Symphony of the Night-style Mario action game would have justified the change more? But I digress.
The issue with Super Paper Mario, though, is that despite the change to a much faster paced genre, it has even more story and dialogue than the previous Paper Mario games. One reason why stories, cutscenes and dialogue boxes work for turn-based RPGs is because they’re already a slower paced genre. But turning an RPG into a platformer, while doubling down on the RPG storytelling seems conflicting with itself. I’m not saying platformers can’t have stories, but when Super Paper Mario has more story than the RPG Paper Mario games, it brings the platformer side of thing down to a crawl.
I remember enjoying Super Paper Mario, and hopefully I’ll revisit it in the near future. But it was the game that made the cracks in the foundation of the series.
3: Bug Fables: The Everlasting Sapling
And now the quality ramps up considerably.
Nintendo fans have made it no secret that they crave the return of the original Paper Mario formula. And for some unknowable reason, Nintendo continues to ignore them. So a small independent studio who were fellow fans of classic Paper Mario decided if Nintendo isn’t going to listen, they’ll just make their own Paper Mario instead.
Bug Fables: The Everlasting Sapling really is classic Paper Mario in all but the names and faces. A wonderful (kind of) return to form for something fans have been starved of for far too long. It should also rank alongside games like Undertale, Shovel Knight and Hades as one of the best indie games around (and Bloodstained: Ritual of the Night. Does that count as indie?).
Turn-based battle system with action commands? Check. Paper-thin characters but no overbearing paper gimmicks? Check. Character progression? Check. The only thing missing are partner characters, but that’s because Bug Fables has a set team of three characters right out the gate. That’s fine. It had to do something different to stand out.
I think my only real issue with Bug Fables is that the difficulty can be a little inconsistent. I actually found some earlier segments to be more challenging than some later stages of the game. It’s not a big deal, but I guess you’d ideally want a game’s difficulty to gradually increase as you go (though it’s not an RPG, Donkey Kong Country 2 is probably the best example of a game increasing in difficulty piece by piece. So look to that for inspiration).
Somewhat hilariously, Bug Fables made its way to the Switch mere months before Origami King. While the latter may have boasted the Paper Mario name, Bug Fables was the Paper Mario you’d been looking for.
Oh, how wonderful it was (and is) to play a game like this again. Why oh why can’t Nintendo see why people love this so much?
2: Paper Mario: The Thousand-Year Door
The second entry in the Paper Mario series seems to be the fan-favorite: Partly because it was a fantastic game, and partly because it was the last time Paper Mario was the Paper Mario we knew and loved. Like many great sequels, The Thousand-Year Door is bigger than the original in almost every way: the story is darker and more serious, the writing is more colorful and witty, there’s more sidequests. Overall, a great sequel.
With that said, I do find some of the partners to be a little bit of a downgrade from the first game (the first few partners even come across as the B-team counterparts to those of the N64 original), and while there’s nothing wrong with the battle system, there’s nothing wrong with it because it was basically just carried over from the first game. My point being that The Thousand-Year Door is bigger than the first game in pretty much every way, but maybe not as innovative in the little details. But now I’m being nitpicky.
If it ain’t broke don’t fix it, I suppose. It certainly beats the “we know fans love the original, but we’re choosing to ignore that and strip away everything they loved from the series” mentality of later entries.
It’s easy to see why The Thousand-Year Door remains so beloved. It took the foundation of the original Paper Mario, and made it into as grand and epic of a journey as any Mario has ever seen. It should rank highly among any list of Nintendo RPGs (a category which I feel doesn’t get the credit it really deserves).
Of course, I think I’ve made it obvious what my number one pick is…
1: Paper Mario
Sometimes, you just can’t beat the original. Though I guess in this case, Nintendo stopped trying to do that long ago. But again, I digress.
What makes the original Paper Mario still stand out twenty years on is the purity of it all. This is the most “Mario” of the Mario RPGs. But I mean that in a meaningful sense, not in the “it can only have characters from the main series and nothing original” sense of the newer entries. It’s the most “Mario” in that it feels like a mainline entry turned into an RPG: Bowser is the villain, but there’s a twist in that he now possesses the wish granting Star Rod to make himself invincible. Peach still needs rescuing, but there are moments between Mario’s adventure where the player takes control of her which prove her resourcefulness. Classic Mario enemies return, but often as friendly NPCs and even Mario’s party members. And while its battle system is turn-based, the action commands make it still feel like a traditional Mario game.
Granted, Super Mario RPG: Legend of the Seven Stars beat Paper Mario to the punch on the whole (and at the expense of undermining this whole ranking, I think Super Mario RPG is the superior game. But it’s also like my favorite game of all time so no harm there, I suppose). Though Super Mario RPG kind of feels like its own thing (one that Nintendo and company really should revisit someday, mind you), whereas Paper Mario feels like it could be part of the mainline Mario series, despite its change in genre.
Paper Mario may have been the only noteworthy RPG on the Nintendo 64. But if the console could only have one, it was lucky to have this one. It’s probably my favorite Nintendo 64 title (though Super Mario 64 and Banjo-Tooie need to be mentioned), one of the system’s few truly timeless games, and one of my favorite RPGs.
The Thousand-Year Door may have added to it. Bug Fables may have paid homage to it. And subsequent Paper Mario games have done… whatever the hell they’ve done to it. But whenever I think of Paper Mario at its best, I always go back to the N64 original.
Chapter 9: The Actual Last One
Well, that last chapter certainly was totally planned from the start and not hastily written at the eleventh hour. Okay, so actually it had been planned for this 1,000th post, then it was one of the ideas I dropped from this celebratory post so I could get it done. But then, like the madman I am, I decided to add the Paper Mario ranking in here after all at the last minute.
There are, however, still those few extra ideas I had that will have to wait for another day. I actually mean that this time. They’ll have to wait. Hopefully you like them in the not-too-distant future.
So yes, now I’ll leave you with a big, fat T H A N K Y O U ! Thanks for your readership, whether it be continued or first time readership. And also thanks to movies and video games for being so great and giving me something I want to write about.
It took a while to get to this 1,000th blog, but I enjoyed every minute of it (well, except maybe when I reviewed CrazyBus and Super Man 64. Those were hard times). Here’s to many, many more!
*Review based on the Playstation 4 release of Oddworld: New ‘N’ Tasty*
Like the Phoenix rising from the ashes, or Stone Cold Steve Austin emerging from “The Ringmaster,” Oddworld: Stranger’s Wrath took the Oddworld series in a bold new direction after the disappointment of Munch’s Oddysee. From there, it seemed like the sky was the limit for what Oddworld could be.
Aaand then Oddworld Inhabitants put a halt on all game development shortly after Stranger’s release.
Disillusioned by turbulent relationships with publishers, Oddworld creator Lorne Lanning and company decided to try a new venture and create an animated film titled Citizen Siege, though the economic downturn of the late 2000s put an end to that dream as well. Things turned around for the better for Oddworld Inhabitants when, in 2010, Indie Developer Just Add Water jumped in to help bring the Oddworld series back into the spotlight. Though the partnership between Oddworld Inhabitants and Just Add Water has since dissolved, their tenure together was successful in relaunching Oddworld, first with HD re-releases of Munch’s Oddysee and Stranger’s Wrath, and then notably with a full-on remake of Abe’s Oddysee, titled New ‘N’ Tasty, which was released in 2014.
Though New ‘N’ Tasty suffered from some bugs at launch (many of which have been worked out in the years since), and some fans were displeased with some of the cosmetic updates it made to Abe’s Oddysee, New ‘N’ Tasty proved successful enough that Oddworld Inhabitants decided to use it as a launching pad to reboot the series, with its upcoming 2021 follow-up, SoulStorm – a quasi-remake of Abe’s Exoddus – replacing Munch as the second proper installment in the originally planed five-part “Quintology” of Oddworld titles.
While it may be a tad disheartening that the only “new” Oddworld game released since Stranger’s Wrath is technically not a new entry at all, Abe’s Oddysee, though a classic of its time, was definitely in need of some updating. And well, that’s exactly what New ‘N’ Tasty provides: a faithful recreation of Abe’s original adventure that still finds time to make some much-appreciated modernizations to the game. Though it also has to be said that there are still some notable bugs present in New ‘N’ Tasty , and that its faithfulness to the original game may come at the cost of some missed opportunities to be something more.
The story here is identical to that of the original release, told with a much stronger graphical sheen, of course: Abe is a Mudokon slave at Rupture Farms, the “biggest meat processing plant on Oddworld.” With the Paramites and Scrabs – Rupture Farms’s favorite meat sources – starting to turn up thin, CEO Mullock the Glukkon decides to turn their Mudokon slaves into their newest food product, which Abe happens to overhear after eavesdropping on a board meeting (for reasons I don’t understand, the remake uses the image of a popsicle shaped like a Mudokon head found in the censored international version of the original game for Rupture Farms’ “new and tasty” product, as opposed to the Mudokon head on a stick found in the US version of Abe’s Oddysee. I can understand if the original image was considered too graphic, but why replace it with a popsicle? It kind of takes away from the severity of the moment).
Realizing that he and his fellow Mudokons will soon be the next item on the lunch menu, Abe decides to escape from Rupture Farms and free his fellow Mudokon slaves.
The cutscenes are recreated word for word, but with modern graphics and a few extra cinematics implemented on occasion. I can’t complain, Oddworld always did a great job at telling a meaningful story, but doing it in a way that’s still expressed with the simplicity of video game storytelling of its time. If anything, the excessively movie-esque games of today could do well for themselves by taking a page from Oddworld’s book on how to tell a video game story.
The gameplay is also largely the same as it was in the original, albeit with some modern tweaks to make Abe control more fluidly (for the most part). Players still run, jump, sneak, hide in shadows, and talk to their fellow Mudokons. Abe can also chant to open portals to free any Mudokons following him, and to possess Sligs (the guards that patrol Rupture Farms) in order to infiltrate enemy lines.
A few notable changes have been made to the proceedings, however. First and foremost, there’s now a difficulty setting, with the easier difficulties giving Abe some added health, while the hardest difficulty brings back the original game’s challenge of everything killing Abe in one hit. Purists of the original will probably swear by the hardest difficulty, but honestly, I think the additional options are a welcome way to ease more audiences into Oddworld.
Another change is that, while the original release of Abe’s Oddysee separated the action into different screens (with Abe moving like he’s on spaces on a grid), the world of New ‘N’ Tasty is a lot more seamless, only needing to load when entering a bonus stage or new level. This makes Abe’s movements a lot smoother, with the awkward exception of his jumping, which still works as if Abe still plays like he used to. It’s unfortunate, because otherwise Abe controls so much smoother than he once did, so to have his jumping still feel so stiff is pretty jarring.
The most appreciated change, however, is carried over from the original game’s sequel, Abe’s Exoddus: the quicksave!
In its original release, Abe’s Oddysee would only save your progress at annoyingly spread out checkpoints. This could make things grow tedious as you’d have to replay decently large stretches of game just because of one brief instance of trial-and-error. Though Exoddus was just as difficult, it had the wherewithal to give the player the ability to save wherever they pleased. Stuck on a particularly tough puzzle? No problem, just save after every step so you don’t have to redo the whole thing after every mistake. New ‘N’ Tasty still includes checkpoints (which are more mercifully frequent this time around), but the ability to save your progress anywhere and everywhere is a real godsend.
Another attribute New ‘N’ Tasty adopts from Exoddus is the ability to speak to multiple Mudokons at once. Again, this is a greatly appreciated change to the proceedings, as the original Abe’s Oddysee could really try your patience in moments with multiple Mudokons, which required the player to communicate with one at a time, and sometimes even have to go through a puzzle/bonus stage as many times as there were Mudokons to save. So again, having New ‘N’ Tasty carry over this element from Exoddus makes the experience a lot more enjoyable.
This does, however, bring up one of New ‘N’ Tasty’s missed opportunities. Abe’s Oddysee featured a total of ninety-nine Mudokons to rescue, while New ‘N’ Tasty brings the number up to two-hundred and ninety-nine (one shy of Exoddus’s three-hundred). You might think, going into New ‘N’ Tasty, that the levels may be bigger or they may have added more secret areas to accommodate the additional Mudokons. Sadly, you’d be wrong. Despite adding two-hundred Mudokons into the mix, the layout of every level and bonus stage is exactly the same, right down to the locations of the secret areas. There’s just a lot more Mudokons in many of the same places. So…what’s the point of the extra Mudokons?
Another issue that arises from these changes is that very few of the puzzles and bonus areas have been tweaked to accommodate them. Some puzzles that may have taken several steps to ensure the safety of multiple Mudokons can now be finished much sooner as you can talk to every on-screen Mudokon at once. Granted, I’ll take the easier challenge here over the difficulty created through tedium of the original, but it would have been nice had the game found a way to tweak more puzzles and bonus areas to keep the difficulty intact even with the changes.
Because the game no longer works in individual screens, some of the puzzles that are changed have only been altered for the wrong reasons. Namely, the drones that would prevent Abe’s chanting used to affect an entire screen (if you shared a screen with a drone, you can’t chant, leaving the player to find a creative way to destroy the drone or lure a Slig away from it). Because the game no longer plays out by screen, the drones now all have a (not entirely clear) area of effect, so you can sometimes simply solve a problem by standing at a safe enough distance away from the drone. It’s not a big deal, but again, if you change certain key features of the game, you have to adapt the obstacles to them in order to retain the obstacle in question.
One thing’s for sure, the game is absolutely gorgeous to look at. I’ve heard a lot of fans claim that the remake doesn’t capture the same atmosphere of the original, so I was a bit hesitant going into New ‘N’ Tasty. Though I can agree that Rupture Farms itself may not be as dark and gruesome to behold as it once was, I don’t think the atmosphere is completely lost. There’s a lot of prominent lighting effects in the game, which might explain why Rupture Farms doesn’t look quite as grizzly as it once did, but I think the complaints are more than a little exaggerated.
There are also still a few persistent bugs to be found in the game, mostly graphical ones, but the game did crash on me a couple of times. And to my fright, the game went back to the startup menu right as I was about to claim the platinum trophy, with my game file seemingly having been erased. Thankfully, that wasn’t the case, and after restarting the game everything was just as it was.
It certainly is odd that the complaints I’ve heard thrown towards New ‘N’ Tasty are either that it plays too close to the original to feel like a worthwhile update, or that it streamlines things to the point that it isn’t faithful enough to the original. Of course, with two such extreme opposite viewpoints, I think it’s safe to say the real answer lies somewhere in the middle.
Oddworld: New ‘N’ Tasty serves as a great introductory point to the series (both because it’s literally a remake of the first game in the series and because it lacks the frustration of the original). The changes it makes are for the best in terms of playability, though it seems like an oversight for the puzzles to largely remain as is despite the changes. As does the fact that they tripled the number of Mudokons to rescue without expanding or adding to any area in the game.
Still, even the original Abe’s Oddysee, while aged in a number of respects, remains a fun and unique experience in gaming. To be able to play it with some modernizations to bring it up to date a bit probably do make New ‘N’ Tasty the ideal way to experience Oddworld’s original Oddysee today.
*Review based on the Steam release of Oddworld: Stranger’s Wrath HD*
“And now for something completely different.”
That Monty Python quote may be a tad overused, but it’s certainly a fitting way to introduce Stranger’s Wrath, which has to be the odd man out of the Oddworld series, and I mean that in the best possible way.
After Munch’s Oddysee – the second installment in the originally planned five-part “quintology” of Oddworld titles – failed to meet its creators’ vision, in addition to having a disappointing reception from critics and fans alike, developer Oddworld Inhabitants hit the pause button on the Quintology and decided to make a whole new kind of Oddworld game. Unlike the previous “bonus game” in the series, Abe’s Exoddus, this new title wasn’t to be a more polished version of an established formula (though there was some talk of a Munch’s Exoddus back in the day), instead, this new Oddworld entry would be unlike anything that came before it. This game would end up being Oddworld: Stranger’s Wrath, a title whose bold ambitions and deviations from series’ tradition paid off in spades.
Originally released on the Xbox in 2005, Stranger’s Wrath was, like Abe’s Exoddus before it, quietly one of the best titles on its console (and I’d argue it’s whole console generation). Stranger’s Wrath became a surprise critical hit and quickly gained cult classic status. Though poor sales numbers and falling outs with publishers saw Oddworld Inhabitants leave the video game industry for near of a decade shortly after the game’s release. It’s a crying shame. Though Oddworld has reemerged in recent times, you can’t help but wonder of all the possibilities the series missed out on during those silent years, especially after Stranger’s Wrath pulled away the curtain and proved Oddworld was a series that could go seemingly anywhere.
After having created unlikely heroes in both Abe and Munch – characters who were incapable of defending themselves but could find other ways to overcome enemies and obstacles – Oddworld Inhabitants decided to make their third protagonist a stark contrast to his predecessors: The titular “Stranger” of Stranger’s Wrath has a face like a lion, and arms like a gorilla (making him the first mammalian creature in Oddworld, unless the Fuzzles from Munch’s Oddysee count). To cap it off, he’s a badass bounty hunter carved from the same cloth as Clint Eastwood’s Man With No Name. Suffice to say, the Stranger is pretty far removed from Munch.
Although Stranger’s Wrath takes place on the same continent of Oddworld as the previous entries in the series, it’s in an area untouched by the industries of the Glukkons (the series’ usual antagonists), being largely underdeveloped and reminiscent of the wild west. In fact, I’m not even sure if it’s ever been confirmed if Stranger’s Wrath takes place around the same timeframe as the other Oddworld games, or if its events occur sometime in Oddworld’s past.
You’ve probably deduced by now that Stranger’s Wrath is a western. As stated, the Stranger is a mysterious, no-nonsense bounty hunter, drifting from town to town bagging outlaws for precious Moolah (the currency of Oddworld). Though Stranger’s quest for cash isn’t all about greed, as he requires a hefty sum to pay for a life-saving operation, giving the character a vulnerability that makes this lion-gorilla more human.
It’s not just Stranger and his place in Oddworld that differentiates Stranger’s Wrath from the previous Oddworld titles, but it’s also very different as a game. Whereas Abe’s Oddysee and Abe’s Exoddus were 2D puzzle-platformers, and Munch’s Oddysee attempted to translate that into 3D (while introducing several original ideas that, sadly, didn’t quite pan out), Stranger’s Wrath combines a first-person shooter with a third-person action-adventure.
Given the game’s time of release deep into the Xbox/PS2/GameCube generation – something of a creative dark age for gaming in which concepts like color were frowned upon for being “too kiddy” – the changes Stranger’s Wrath made to Oddworld may have damaged the series under less talented hands (need we remember how Jak & Daxter tried to be more “edgy and mature” with its sequels, which now just seems like laughable conformity in retrospect). Thankfully, the creativity of Oddworld Inhabitants is still at play here, and arguably at its best. Somehow, Stranger’s unlikely marriage of genres works seamlessly at the press of a button.
If the Stranger has anything in common with Oddworld’s past heroes, it’s in his disdain for guns. Putting an Oddworld twist on the first-person shooter, Stranger is equipped with a crossbow over his right arm, which doesn’t shoot bolts or arrows at enemies, but the various little critters scattered about Oddworld, humorously referred to as “live ammunition.”
When in first-person mode, the player can equip two forms of ammo onto Stranger’s crossbow at a time (one on the left, one on the right). There are eight primary types of this live ammunition, giving players a lot of options and combinations as to how they want to tackle a situation: Zapflies are electrically-charged fireflies that can be shot in quick succession or be given a short time to charge up and do some real damage or knock out electrical devices. Chippunks are foul-mouthed little rodents who will lure an enemy away from a group with its insults (the bad guys can’t wait to step on them). Bolamites are spiders that wrap enemies in their webbing for a short time. Fuzzles – returning from Munch’s Oddysee – can be fired directly onto enemies or planted as a trap, and provide continuous damage with their ferocious bite. Thudslugs are heavy, beetle-like creatures that can knock an enemy out with one well-aimed shot. Stunks are like skunk versions of chippunks, leaving a terrible smell where they land, causing the bad guys to vomit and making them easy pickings for Stranger. Stingbees, which come in massive quantities, are fired like a machine gun. Finally, Boombats, as their name bluntly suggests, are bats that explode.
What Oddworld Inhabitants managed to successfully do with the live ammunition concept is create a variety of well-defined weapons that each have a distinct role, and will all come in handy at one point or another. Though different ammo types are better for certain situations, none of them ever come across as a pointless addition.
Bad guys are worth more Moolah if they’re captured alive, but there’s also nothing stopping Stranger from taking them out of the picture altogether. Some ammo types are better suited to incapacitating enemies (like Stunks or Bolamites), whereas others are more lethal (Stingbees, Boombats and Fuzzles). After an enemy is downed or killed, Stranger can use a vacuum like device on his crossbow to suck them up to collect the bounty (a mechanic I have to applaud. So many story-focused games are so concerned about something being “too video game-y” as to not fit in with their narrative, so it’s great to see games like Stranger’s Wrath not feel embarrassed to embrace a more convenient video game element to go with their story). Personally speaking, my favorite is the Chippunk/Stunks combo, luring in an enemy with the former then using the latter to capture said foe whilst they puke.
The boss outlaws are trickier, having both a health bar and a stamina meter. If you want to bag a boss alive, you have to find the best way to deplete their stamina, which is different depending on the boss. The only setback to this is it’s rarely apparent what a particular boss’s weakness is, and if you’re out of that particular ammo by the time you get to the boss, you don’t always have an opportunity to get more of that specific ammo during a boss. It isn’t a huge drawback, but it is a little bothersome to not know ahead of time if you’re trying to bag the boss alive for more Moolah.
Stranger finds more ammunition by coming across the nests of each respective creature, knocking them out and collecting them. The exception are the zapflies, of which Stranger has unlimited ammo. This might be my only critique with the live ammunition. While it makes sense from a gameplay perspective that Stranger needs one type of unlimited ammo so that he always has a means to collect more, I think the zapflies are a little too good to be the one that comes without limits. The other ammo types (other than Stingbees) are in short supply, with Stranger holding a max of about ten to fifteen shots apiece (though you can buy upgrades for more ammo). So it seems a little overpowered that the ammo you can charge up for a stronger shot is the one you can’t run out of.
The first-person aspect is only half of the equation, of course. Players can also swap to third-person to use melee attacks and run faster (with Stranger going beast-mode and running on all fours at top speed). Like the bosses, Stranger also has a stamina bar, which is used for the melee attacks and, interestingly, to heal. Instead of finding health around the place, the player simply needs to hold a button for Stranger to “shake off” the damage at the expense of stamina. That may sound like another overpowered element, but you’d be surprised how many times you can still manage to bite the bullet as you wait for your stamina to replenish during a gunfight.
Like Abe and Munch, Stranger can communicate with NPCs. Due to the game’s heavier focus on action, “gamespeak” has been streamlined to a single button, with Stranger simply asking what he needs to for information (or to remind the player what they’re supposed to be doing, if there’s no NPC present).
The structure of the game is simple enough. Go to the bounty store, accept a job, head out to find your target, take out his gang and eventually the boss himself (usually cumulating in a big shootout with the boss and his gang, or a more traditional boss fight). After you’ve exhausted a town of its outlaws, you move onto the next and do the same. Sometimes, you’ll even have an option as to which job you want to take at which time. And just before the formula might start to feel repetitious, the game throws a huge curveball at the player, and though the core gameplay remains intact, the structure changes drastically.
I won’t give away any spoilers, but you could say that Stranger’s Wrath is divided into three acts: Act one comprises of the first two towns and their bounties. The second act is the third town, where the game gets considerably bigger. And act three comprises of everything post-shift.
Again, I don’t want to give anything away, but it should be noted that the twist the game takes has been a talking point ever since the game’s 2005 release. Some love it as an all-time great gaming twist that benefits the story of Stranger’s Wrath, while others feel the game becomes far more linear after the twist. While I can understand the complaints of the latter category, and may even personally prefer the more game-focused first two acts as opposed to the story-based third, I find myself siding more with the more positive outlook of the twist. So many games want to be everything (a trend that started in the generation of Stranger’s Wrath, which saw the rise of Grand Theft Auto and Elder Scrolls, and has only become more extreme in the years since), but they end up lacking a definitive purpose. It’s refreshing to come across a title like Stranger’s Wrath that knows exactly what it wants to be, and executes it so well.
Though I will admit I have two issues with the game’s post-twist timeframe: the first is that (again, without spoiling anything), it becomes much easier to get a hold of more ammo, which takes away some of the uniqueness that hunting it down has in the earlier parts of the game. The second is that each of the Live Ammunition types (save the Zapflies) get an upgrade during this section. That may sound cool, but the issue I have is that I kind of like the functions of some of the un-upgraded ammo better, but once it gets the upgrade, you can’t switch it back. Given the direction the game goes, these changes make sense. But it would be nice to have the option to use the tools at play the same way you did up to that point.
Though it may be something of a shooter, I actually think the best game to compare Stranger’s Wrath to would be another beloved 2005 title: Shadow of the Colossus.
Like Colossus, Stranger is a story-driven game in which the game drives the story. Some may complain that these titles are “too linear” or that “they don’t have enough for the player to do other than the main objectives.” But to complain about such things is kind of missing the point of these types of games. While today, we have the dreaded “walking simulator” (first-person games with minimal gameplay in which the player simply walks through the story), Stranger, like Colossus, tells its story through a game. Perhaps it’s not quite on the same level of “a story only a video game could tell” as something like Undertale. But like Colossus, Stranger is the combination of gameplay and narrative done right.
It’s impressive how Oddworld: Stranger’s Wrath both deviates away from the series’ past while also somehow managing to fit right in to their established world. The only returning creatures of Oddworld’s past are the aforementioned Fuzzles, and the doctor who plans to perform Stranger’s operation, who is a member of the Vykker species introduced in Munch’s Oddysee. There’s not so much as a mention of Mudokons, Glukkons or Sligs. The townsfolk are all featherless chicken people called Clakkers, while a tribe of natives, salamander-like creatures called Grubbs, also show up. Meanwhile, the outlaws Stranger hunts down are an assortment of goblins, dinosaurs and slugs (their specific species are still unnamed, though it’s pretty cool how the game utilizes a consistent batch of creature designs for a varied assortment of baddies). It’s the right kind of franchise reinvention, which of course makes the series’ extended absence after Stranger’s release all the more heartbreaking.
There are a couple of areas in which Stranger’s Wrath may show a bit of age. Namely, the jumping definitely feels very “mid-2000s action game” in that it feels a little slow and awkward. This can make some moments that implement a bit of platforming feel a bit less than ideal. It should also be noted that there are some technical issues with the game, particularly in the Steam release I played for this review (the achievements are notably buggy in this version, but I suppose that’s only an issue if you’re really into those kinds of things). There were also a few graphical errors during some in-game cinematics (I actually beat the game twice ahead of this review, and while most of these graphical hiccups only showed up in one playthrough or the other, one particularly funny moment happened during both).
I used an Xbox One controller for my playthroughs, and it has to be said that whatever the default controller settings are on Steam for Stranger’s Wrath are dumbfounding. I admit I was worried for a brief moment that maybe Stranger was always just a mess a to control, and the game itself didn’t live up to my memories of it. Thankfully, a quick internet search gave me the instructions I needed to reconfigure the control setup to feel more like it original release, putting my concerns to rest. Stranger’s Wrath has also been made available for the Playstation 3 and, most recently, Nintendo Switch. I’ve heard the PS3 version lacks the technical bugs of the Steam version, and I’m assuming the Switch version follows suite. So those might be more ideal ways to play Stranger’s Wrath today, but none of the bugs found in the Steam version interfere with gameplay in the way those of Munch’s Oddysee did. So if you reconfigure the control setup for the Steam version it’s still plenty playable.
And play it you should! Oddworld: Stranger’s Wrath, like Shadow of the Colossus, is one of those games that quietly received praise for its originality, but went under the radar in its initial release. Whereas Shadow of the Colossus eventually went from being recognized as a cult classic into an all-time great, Stranger’s Wrath has unfortunately never broken through that glass ceiling that Oddworld has sadly been under since day one. In a more perfect world, Stranger’s Wrath would have ascended right alongside Shadow of the Colossus. Here’s hoping that one of these re-releases will eventually see Oddworld: Stranger’s Wrath takes its place on the pedestal it’s always deserved.
*Review based on the updated Steam release of Oddworld: Munch’s Oddysee*
The Oddworld series has had a turbulent development history. Originally envisioned as a five-part “Quintology,” the series quickly expanded to include “bonus games,” after the success of the first entry in the series, Abe’s Oddysee, lead to the development of an unplanned direct follow-up, Abe’s Exoddus. The second “proper” installment in the Quintology, Munch’s Oddysee, would then see a number of road bumps in its own development. Originally planned as a Playstation 2 exclusive, all the work developer Oddworld Inhabitants made for that version of Munch went out the window and had to be rebuilt from the ground up when the game transitioned to the Xbox. And with the pressure of releasing Munch’s Oddysee as a launch title for Microsoft’s then-new home console, many of the ideas and concepts series creator Lorne Lanning and company had for Munch had to be trimmed down, cut short, or removed entirely.
It should be no surprise that Munch’s Oddysee is widely accepted as the worst entry in the series by both fans and critics then. Even Lorne Lanning has publicly expressed his disappointment with the finished product on numerous occasions. Munch’s reception would shift Oddworld Inhabitants’ focus onto a bonus game once again, as the next Oddworld entry, Stranger’s Wrath, was created with the intention of separating itself from Munch’s Oddysee as much as possible.
That was the end of the line for Oddworld for a good while. The series would end up having more cancelled and unrealized games than it did actual releases. Squeek’s Oddysee, the planned third entry in the Quintology, was never released, nor were multiplayer title The Hand of Odd or the spiritual sequel to Stranger’s Wrath, The Brutal Ballad of Fangus Klot. It wasn’t until 2014 with the release of Oddworld: New ‘N’ Tasty – a remake of the original Abe’s Oddysee – that the series would return. At that point, Oddworld Inhabitants chose to reboot the series, using the remake as a launching pad to start things over. 2021 will see the release of SoulStorm, a “complete re-imagining” of Abe’s Exoddus which is now being reworked as the second installment of the Quintology, effectively making Munch’s Oddysee completely non-canon (Stranger has hopefully escaped this fate, given how little it had to do with the previous games anyway).
It probably didn’t help the game’s reputation when the four Oddworld titles were bundled together on Steam in 2010, with the port of Munch suffering from so many bugs and glitches that it continued to receive patches and updates all the way into 2016.
Playing Munch’s Oddysee today, twenty years after it debuted alongside the original XBox in 2001, its shortcomings have only been magnified. It’s a shame, because in terms of ideas, Munch’s Oddysee has no shortage of creativity. But it’s now more obvious than ever at how all these ideas were only partly realized. The sacrifices made in its development make Munch’s Oddysee feel like a series of missed opportunities and lost potential.
The titular Munch of the game is a Gabbit, an amphibious creature with a large head and a single leg. Actually, Munch is believed to be the very last Gabbit, as the species became popular hunting game for their eggs (considered a delicacy by the Glukkons, Oddworld’s dominant species of businessmen), and for their powerful lungs, which are compatible with most of Oddworld’s other species (with Glukkons being such heavy smokers, Gabbit lungs come in handy). Gabbits were also used for experimentations by Vykkers (who are under Glukkons but above most other creatures in the Oddworld pecking order, filling the roles of scientists and doctors).
Unfortunately for Munch, he ends up kidnapped by a couple of Vykkers, who perform a series of experiments on the poor Gabbit, installing a sonar device onto his head. Munch manages to escape the lab with the help of the Fuzzles – small, round creatures that look like fuzzy versions of those old chicken McNuggets characters – another popular subject of Vykker experimentation.
Meanwhile, original Oddworld hero Abe returns, being instructed by a being known as “The Almighty Raisin” to find the last Gabbit. With the help of Munch, Abe can rescue more of his enslaved Mudokon brothers. And with Abe’s help, Munch might just be able to track down the last known can of “Gabbiar” (Gabbit eggs), and save his species from extinction.
Munch’s Oddysee obviously continues the series’ environmental themes, but it’s pretty apparent early on that much of the story didn’t make it into the final game, with a number of plot elements feeling rushed or forgotten. The plot also gets a little silly later on, with Abe and Munch trying to make a particularly “lazy and incompetent Glukkon” wealthy, so that Abe can use his telepathy on said Glukkon to win the Gabbit eggs at an auction (why Abe and Munch can’t just sneak into the auction and possess whoever happened to win it is a detail that maybe needed some explanation).
It seems Munch’s Oddysee fully embraces the more comical and cartoonish aspects of Oddworld, which isn’t a bad thing in an of itself, but it’s a bit sad to see the series’ darker and more gruesome elements disappear, as it’s that combination of grimness and cartoonish antics that help make Oddworld feel so unique. Even the environments look brighter and more colorful than in Abe’s solo outings.
Whereas the “Abe” titles were 2D puzzle-platformers, Munch’s Oddysee took things into the 3D platformer route. Perhaps the shift to 3D was another hurdle for Oddworld Inhabitants (aside from Nintendo with Super Mario 64, can you name a developer who got 3D right in their first go?), though credit where it’s due, Munch’s Oddysee had some innovative ideas for the genre that still feel unique all these years later.
Notably, both Abe and Munch are distinct characters not just in appearance, but in gameplay as well. Abe can move faster and jump higher on land, but is unable to swim. Meanwhile, Munch may be slower by default, but he can find wheelchairs to move faster, and is a capable swimmer to boot. Abe can once again possess enemies, while Munch – using the sonar device in his head – can hack into machines to control them. Abe still communicates with his fellow Mudokons, with the native Mudokons becoming soldiers that can go into battle in place of the defenseless Abe, and can even be upgraded to have melee and ranged weapons (giving the game a light RTS twist). Munch, meanwhile, can free Fuzzles from their cages, and can similarly command the vicious creatures against enemies.
I love all of the gameplay ideas in concept. Sadly, none of them feel like they reach their full potential. What’s even worse is that, despite being Munch’s game, he definitely feels like he gets the short end of the stick between the playable duo.
Due to the shift in 3D, Abe’s chanting now works differently here, requiring the use of “Spooce Shrubs” to produce a telepathic light, which the player then controls until it finds an enemy or runs out of time (you can use up to 10 Spooce to make the light last longer). Not only is the Spooce found everywhere, but Abe can instantly regrow a shrub after picking it up, which Munch can’t do. And even though there are still moments that prevent Abe from chanting, there are far more opportunities for him to possess enemies than there are for Munch to hack into machines, which only happens on a few occasions. There are even more than a few moments where you can cheese your way through a stage by using Abe’s possession abilities to clear an area of its foes, instead of working through the level the way I think it was intended given the layout (I can’t help but feel Oddworld Inhabitants intended to include the drones that prevent Abe’s chanting in these segments, but just forgot to include them).
There are also more levels that include Mudokon soldiers than Fuzzles, and as stated, you can upgrade the Mudokons (once again using Spooce), but the Fuzzles lack variety or advancements. The Fuzzles also have trouble keeping up with Munch when he’s on his wheelchair, nor can they follow him into the water, effectively making his soldiers much less useful than Abe’s, on top of already being less interesting.
It’s things like this that make Munch feel underdeveloped from a gameplay standpoint. He’s a cute little fella (well, as cute as anything in Oddworld could possibly be, anyway), but I feel like Oddworld Inhabitants could have done the character better had they settled on one idea for him, like his preference for water. If Munch had some kind of aquatic soldiers and had water-based puzzles to solve, his gameplay would probably feel a lot more fleshed out. The developers should have leaned into the idea of Munch’s amphibian nature, instead of throwing in the sonar device and hacking and Fuzzles. Munch is a Jack of all trades, but a master of none, whereas Abe’s gameplay is more concrete (albeit his jumping feels pretty awkward this time around). As a result, Munch feels like the sidekick of his own game.
Of course, the concept of “too many ideas and not knowing what to do with them” kind of sums up Munch’s Oddysee as a whole. Abe’s Exoddus also had a rushed development, but because Oddworld Inhabitants knew what it was (a bigger, better sequel to Abe’s Oddysee), the end result was fantastic. Munch’s Oddysee feels like Lorne Lanning and company had a lot of ideas for the game, but didn’t settle on any one of them by the time development was pressured into meeting the XBox’s launch.
I can’t help but feel the way to go for Munch’s Oddysee was to build on the “3D platformer meets RTS” aspect (with Abe on land and Munch in water). The game just isn’t nearly as interesting in the levels that are absent of the Mudokon and Fuzzle soldiers. It tries to implement puzzles like in Abe’s titles, but these puzzles quickly become repetitious. One notably lackluster stage is literally just Abe doing some platforming to reach switches to open doors so Munch can pass through repeatedly. Another requires Abe to possess a “Big Bro Slig” to take out the other Slig soldiers in the stage, without informing the player that the Sligs in this particular stage respawn numerous times, and you have to exhaust their respawns in order to make things safe for Abe and Munch. That’s just tedious and cryptic.
There are other examples of shortcuts and cut corners taken: Paramites and Scrabs reappear for one level apiece, but they feel like token appearances this time around, instead of part of Oddworld’s unique setting (they even act identical in this game, further devaluing their appearance). Even the stages and their progression feel unfinished, with levels ending simply by having Abe and Munch stand on pads with their faces on them, which takes players directly into a loading screen and then immediately throwing them into the next stage (I have nothing against linear structures in games, but surely a world map at the very least would make the game feel far less fragmented).
Despite the years of fixes and patches the PC version of Munch’s Oddysee went through, I still experienced some notable bugs during my playthrough for this review. Three in particular stood out: the camera in the game is already more than a little messy, but when it was meant to focus on a particular object for a key moment in a stage (like unlocking a door after solving a puzzle), it would seemingly lose all control before only kind of focusing on the intended object. The second involved possessing enemies, as the ball of light that Abe conjures when he chants would sometimes (not all the time, but sometimes) only move when jumping. Finally, the most confusing bug involved the run button. Normally Abe and Munch just walk when using the control stick, and you need to hold a button to make them run. But in some stages, it was the opposite, and the characters ran by default, and walked when I held the run button.
Whether or not bugs such as those were present in the original Xbox release, I can’t remember. Either Munch’s Oddysee was always a much more technically flawed game than I remembered, or the PC port is still a mess after years of fixes. Either way, it doesn’t help the game’s reputation as the low point in the Oddworld series.
I love Oddworld. It’s one of gaming’s most unique settings, as interesting as its creatures are ugly. And it delved into deeper lore and worldbuilding long before that became commonplace in popular culture. But it’s also a series whose creative ambitions have often been out of reach for what its developers could realistically achieve (and what its publishers were willing to do). That’s evidenced by the unfinished nature of the original Quintology, and the numerous cancelled games besides. But it’s perhaps epitomized through Munch’s Oddysee, a game chock-full of brilliant concepts that end up haphazardly realized.
*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.