One of Nintendo’s defining traits is their unrivaled ability to showcase the merits that are exclusive to the video game medium. While other developers and publishers seem hellbent on bringing the world of Hollywood into the video game fold, Nintendo has always understood that the real poetry of video games is in their gameplay. Mario and Zelda (rightfully) get the most praise for this, but perhaps the Nintendo franchise that expresses Nintendo’s game design philosophy in its most literal sense is WarioWare.
The WarioWare series strips away all the bells and whistles of gaming, and reduces it to its bare-bone basics. By throwing multitudes of ‘micro-games’ at players – each one requiring minimal movement and button presses – WarioWare is a showcase of gameplay concepts at their most simple. It’s as beautiful as it is absurd.
There’s perhaps no better entry in the WarioWare series than WarioWare Twisted. Released on the Gameboy Advance in 2005, Twisted put a unique spin on the series’ formula: motion controls.
While most other WarioWare sequels have capitalized on their respective hardware by weaving the quirks of Nintendo’s consoles into the series’ formula, Twisted instead had unique functionality of its own. With a built-in ‘gyrosensor,’ WarioWare Twisted allowed players to interact with its micro-games by moving, tilting and flipping your GameBoy Advance.
You know how in movies and TV shows when someone is supposed to be playing a video game, but the actor clearly doesn’t know what they’re doing and is just moving the controller around like a madman? WarioWare Twisted has player’s actually doing that in order to play the game. In typical WarioWare fashion, Twisted provides innovative gameplay at the price of making the player look like an idiot while playing it. What could be more ‘Wario’ than that?
A year before the Nintendo Wii brought motion-controls to the mainstream, WarioWare Twisted brought a different kind of motion control to the table. While many of Twisted’s micro-games will still require a press of the A button or D-pad, most of them require the player to move the GameBoy Advance around in order to effect what’s happening on screen. It makes for a game that’s easy to pick up and play, while providing all the charm and hilarity you could ask for in a Nintendo title.
Can you think of another game that requires the player to move the entire system left and right in order to shave a man’s stubble? I didn’t think so. There are so many fun and funny ideas at play in WarioWare Twisted at every turn. If you can play it and somehow not get a goofy grin on your face or let out a chuckle, you must have a heart of stone.
There are micro-games that have you flipping the GBA upside down so a man’s toupee falls off, or that have you tilting the Gameboy Advance to its side so you can slide a man his drink (but tilt too fast and the drink spills). There are games that have you twirling the system so a key falls out of a giant keyring, or to make a platform move so a frog can land on it. Not all of the micro-games are winners (such as one where you have to pay attention to which of two hands is holding a coin, with the motion controls only being used to highlight which hand to select), but the ones that are, shall we say “not-so-great” are in shorter supply.
The game features a variety of modes, with the “story” being spread out between different characters. Each character works as their own stage, with their own set of micro-games that follow different rules (some might require light motion-controls, while another character’s might have you going all-out with them). You have four chances to make it to the ‘boss’ micro-game which, after completed the first time, will allow you to move onto the next character. After a character’s stage has been completed, you can replay them and go through more and more micro-games to try and best your high score as the games continue to pick up speed. You can also play a mode that allows you to select a single micro-game to play on repeat, again getting faster and tougher after every few rounds.
The more you play the different modes, the more goodies you can unlock. Some of these unlockables include music tracks from the game, while others will be goofy trinkets that display the game’s motion controls even further, albeit in minuscule ways (for example, you can unlock a marionette, which you can then move about by tilting the GBA to pull his strings).
It’s all a bit silly and mindless, but that’s kind of the appeal of WarioWare. It strips the very concept of video games down to its bare essentials, then runs wild with them in as many crazy ways as it can think of. WarioWare is both a celebration and a parody of its own medium, and that’s perhaps never been better displayed in the series than it is here in Twisted.
Aesthetically, the game still looks and sounds great for a Gameboy Advance title. Twisted wisely uses its many micro-games to experiment with various visual styles, and this is one of the few GBA titles I can think of that had good enough sound quality to feature a song with lyrics (“Mona Pizza” which has since gained fame for its uses in the Super Smash Bros. series).
It is a bit of a shame to admit that WarioWare Twisted can be a difficult game to find these days. Notably, it never even saw a release in Europe, due to the gyro sensor in the cartridge containing mercury. And its unique control scheme means it has yet to see a re-release on a subsequent Nintendo console.
Let’s hope one day Nintendo finds a way to adapt Twisted onto contemporary hardware. Until then, if you still have a Gameboy Advance handy, WarioWare Twisted is more than worth the trouble of tracking down. And if you don’t have a Gameboy Advance, Twisted remains a great reason to get one.
The mid-to-late 2000s saw a new boom period for Nintendo, thanks to the successes of the Wii and the Nintendo DS, which introduced new innovations to gameplay and brought a much broader appeal to the video game world. The downside to this, however, is that these new gameplay ideas – like the Wii’s motion controls and the DS touchscreen – took some time for some developers to get the hang of. As odd as it may sound in retrospect, considering it became Nintendo’s best-selling system of all-time, the Nintendo DS had a particularly rough start, with its first few months on the market being starved of a title that justified its touch-based bottom screen.
As history tells us, the Nintendo DS did eventually find its groove and held onto its momentum. But even after the DS became a success story, there was still the occasional title that harkened back to those early days of the handheld, with games that stumbled trying to understand the hardware.
Sadly, such was the case with Wario: Master of Disguise. Despite being released in 2007, Master of Disguise felt more akin to one of the rougher DS launch games than it did one of the system’s gems post-Kirby Canvas Curse.
The 2000s were very kind to Wario. Along with some well-received Wario Land sequels, the anti-Mario found a newfound success during this time through the introduction of the WarioWare series. Though Wario Land was on a break during 2007, Master of Disguise looked to fill in the gap with a new Wario platformer. Whether it was planned to be a follow-up to Wario Land or a third cog in the Wario machine, Master of Disguise unfortunately failed to live up to either. Though not an all-out bad effort, Master of Disguise was just plagued by too many rough edges for it to live up to Wario’s legacy.
Similar to the Wario Land series, Wario: Master of Disguise sees the mustachioed villain don different forms in order to access different locations of the game’s various levels. Unlike Wario Land, however, Wario doesn’t gain these forms via enemy attacks or power-ups, but by the player drawing different symbols to switch Wario into one of his many disguises.
Wario’s default form is “Thief Wario” which allows him to jump higher than the other forms. There’s also “Genius Wario,” which allows our anti-Mario to see invisible objects. “Cosmic Wario” can shoot enemies with a laser gun. “Arty Wario” can draw large blocks that serve as platforms and can be used to press buttons that Wario can’t reach. And so on and so forth.
I like the idea of a platformer that has what are essentially permanent power-ups that can be switch to at any time. The problem with Wario: Master of Disguise’s costumes is in its execution. The earlier disguises use simple enough shapes to draw, like circles and checkmarks, but the later disguises are a little trickier. It’s not that the symbols themselves are particularly complex, but they often require pinpoint accuracy and precision in order for the game to recognize them. This is made all the trickier when you consider that you have to draw these symbols directly on top of Wario, as the rest of the screen is used to perform each disguise’s special ability with the touch controls.
What of the DS’s buttons? They’re used to move Wario around, same as the D-Pad. As you could probably guess, it feels a bit awkward, especially since jumping is performed by pressing up on the D-Pad (or X, the top button of the DS’s face buttons), which only ever feels clunky in anything but fighting games.
It just doesn’t make much sense. You have all these buttons, but all they do is move Wario, which the D-Pad already does. I can understand some of the disguise abilities being used with the touch screen (such as Arty Wario’s ability), but the game would have flowed a lot smoother if just some of Wario’s moves were mapped to the buttons. In case you’re wondering, yes, even Wario’s traditional charge attack is performed by tapping the touchscreen (while in Thief Wario form).
I have to repeat that, between the small amount of available space to draw the symbols, and how unresponsive the touch controls can be, it all becomes a bit of a mess. You’ll perform abilities when you’re trying to change costumes, switch to a disguise different from the one you wanted, or just fail to do anything. A few of the abilities – or just switching costumes – utilizing touch controls would be fine, but Wario: Master of Disguise is far too reliant on them. And seeing as they aren’t all that refined, the touch controls become all the more troublesome.
Wario: Master of Disguise faces other unfortunate problems as well. Though previous levels can be replayed after gaining new disguises, thus opening up more areas of said completed stages, the level design is so convoluted you may not be too enticed to do the backtracking. While each level can provide some fun platforming, and even feature their own distinct goals, the layout of the stages is often cryptic and confusing. It can get so bad that I found myself stuck for over an hour and a half on some levels, just because it was so vague as to what I was supposed to be doing.
The ultimate goal of the game is to claim treasures hidden in chests throughout the stages. Unfortunately, even that simple premise is made more complicated than it needs to be. Every time the player opens a treasure chest (by, you guessed it, tapping the touchscreen), they are thrown into a touch screen-based mini-game. These aren’t the fun and creative mini-games of WarioWare, either. Instead, you get generic mini-games that you could have played in any of the DS’s launch titles, such as panel flipping and line tracing. Should you lose the mini-game, the treasure chest threatens to damage Wario with bombs. But after the bombs explode, you can just try again anyway, so what’s the point of having the penalty at all?
Another issue with Master of Disguise – as odd as it sounds – is its story. Now, this is a Wario game, so of course the story is ludicrous nonsense. That would be par for the course on its own, but the game just spends way, way too much time with the story.
Basically, Wario is watching TV and sees a show about a master thief named Count Cannoli. Knowing he could do the thief’s job better, Wario builds a helmet that allows him to travel into the TV show, in order to show the thief how it’s done (raising the question as to why Wario doesn’t just patent his miracle technology to earn a fortune). Wario ends up stealing the thief’s magic wand (which allows Wario to transform into his various disguises), and both Wario and Count Cannoli engage in a competition to retrieve pieces of a “Wishstone” that, when completed, will grant them a wish.
Normally, I’d be fine with Wario having such an insane story as traveling inside a TV show and altering that show’s ‘reality.’ But again, Master of Disguise, perhaps more so than any other Wario game, emphasizes this story. Not only does this mean barrages of overly-lengthy, flow-breaking text bombard the player at almost every turn, but what should be a delightfully weird plot just ends up raising confusing questions. If this wishing stone exists within the TV show, would a potential wish made by Wario only become reality within the TV show? Or would it affect Wario in his reality as well? I know I shouldn’t be overthinking the plot in a Wario game, but with how much emphasis Master of Disguise gives its plot, and the aforementioned quirks in gameplay preventing it from distracting from said plot, it gets kind of head-scratching.
Wario: Master of Disguise has some merit. The concept of switching between permanent power-ups is a nice change of pace for platformers, and it’s kind of surprising Nintendo hasn’t revisited the idea. And the music is surprisingly good. But the insistence of the touch screen controls, which aren’t even reliable, really hinders the game. As does its convoluted level design and flow-breaking storyline.
Thankfully, 2007 also saw the release of WarioWare: Smooth Moves on Wii, with the next year also seeing Wario Land: Shake It! arrive on the same platform, so Wario still had his tried-and-true series to rely on and recover. But Wario: Master of Disguise is so mishandled in execution it may rank as the weakest outing from Nintendo’s garlic-munching anti-Mario to date.
Wario Land originally began life as a spinoff of Super Mario Land in 1994, but Nintendo would later re-invented the series with its second entry four years later in 1998. This Wario resurgence lasted for the next few years, culminating with Wario Land 4 on the GameBoy Advance in 2001. After that, the Wario Land series went on hiatus, and with the WarioWare franchise coming into prominence soon thereafter, it seemed like Wario Land was a thing of the past. But after seven years, Wario Land finally made a comeback – and on a home console for the very first time – in the form of Wario Land: Shake It! on the Wii. While Wario Land: Shake It! may seem like a more straightforward platformer than some of its predecessors, it hides a surprising level of depth for completionists, and hand-drawn visuals that make it all too easy to get sucked into.
Wario Land: Shake It! was developed by Good-Feel, the same studio who would later make Kirby’s Epic Yarn as well as Yoshi’s Woolly World and its sequel. But this was Good-Feel’s first instance of tackling a popular Nintendo franchise and giving it a unique visual overhaul. Naturally, you wouldn’t expect Wario to be as cute or charming as Kirby or Yoshi, but that doesn’t mean Wario Land: Shake It! is any less visually captivating than its more well-known Kirby and Yoshi counterparts.
Instead of being made of yarn or crafts, Wario’s adventure from Good-Feel uses entirely hand-drawn character sprites, courtesy of acclaimed anime studio Production I.G. And the results are quite stunning. Wario would probably be one of the last video game characters you’d think of when you think ‘anime,’ and yet, Wario Land: Shake It! is one of the best examples of an interactive anime. Wario’s every action is surprisingly detailed, and the enemies – though more simplistic than Wario – still boast fluid animation. It’s simply a great game to look at, an element that would become a hallmark of Good-Feel’s titles.
The story is, of course, simple stuff. A princess from the “Shake Dimension” has been kidnapped by the Shake King, and her loyal followers, the Mertles – weird bird creatures that remind me of the Flickies from Sonic 3D Blast -have been imprisoned. The Shake Dimension needs a savior…but they end up finding Wario instead. Wario is at first disinterested in saving the day, until an escaped Mertle informs Wario that he can keep the many treasures he comes across in the Shake Dimension, including the kingdom’s most priceless treasure, a bottomless coin sack that will generate money whenever shaken. Naturally, this gets Wario off his lazy butt to set out and be a “hero.”
In terms of gameplay, Wario Land: Shake It! at first appears to be a pretty straightforward platformer, but with a twist: after you make it to the end of a stage (a caged Mertle that can be freed by shaking said cage), Wario must race back to the start of the stage before time runs out, lest he lose his accumulated treasures.
Like in Wario Land 4, our mustachioed, garlic-obsessed anti-hero is no longer invincible as he was in Wario Lands 2 and 3. Though with that said, you’ll still likely rarely lose a life (during my play through for this review, I only ever actually died during the final boss). So the game may be easy from that perspective, but as Good-Feel would later implement in their future titles, the real challenge of Wario Land: Shake It! comes in the form of total completion. Each stage houses three unique treasures to be uncovered, as well as a series of challenges (which basically work like Xbox achievements or Playstation trophies), from three to five depending on the stage, that need to be completed in order to unlock that stage’s soundtrack, which is necessary for those seeking 100% completion. Some stages will even have some challenges that contradict each other, meaning you’ll have to repeat those stages in order to check off every challenge. Additionally, the game features a few hidden stages, unlocked upon finding hidden maps within the normal levels.
The downside to Wario no longer being invincible (aside from the obvious) is that the transformations of Wario Lands past have been greatly reduced. In Wario Lands 2 and 3, Wario’s invincibility was part of an elaborate joke, in which getting hurt by enemies gave Wario different “transformations” as opposed to taking damage. In Shake It!, only Wario’s fire and snow forms return (that is to say, Wario can catch fire or get trapped in a snowball to his advantage), but otherwise, Wario’s gameplay is more traditional than in some of his past ventures.
The irony in this scenario is that Good-Feel would later incorporate character invincibility in Kirby’s Epic Yarn. So Good-Feel’s entry in the Wario series is lacking one of its past trademarks, but the studio incorporated it into their Kirby installment two years later.
Still, Wario remains a fun character to control. He’s still his brutish self, so he can charge, throw and butt-stomp enemies into oblivion. And in the game’s signature addition to Wario’s repertoire is that he can now shake enemies and objects he’s holding (done by shaking the Wii remote). Enemies will often drop health-replenishing garlic, but some of them, as well as plenty of objects, will dish out coins by the dozens.
Unfortunately, despite the bountiful amounts of cash-money Wario is bound to come across, there’s only so many uses for it in Wario Land: Shake It! The gold can be seen as the equivalent to points, with players trying to best their “high score” with return visits to stages. But since Wario’s collected gold actually has practical use, it really stands out how few uses there are for it. After a world is completed, Wario can purchase access to the next world – as well as an additional hit point – from his former rival, Captain Syrup. If Good-Feel were going to include things to spend Wario’s stolen hard-earned loot on, you can’t help but feel there could have been better things to spend them on. It would have made more sense if the secret levels had to be purchased, and if there were additional abilities to unlock, instead of spending Wario’s gold on things that just feel like the natural progress of the game.
Players seeking a tougher challenge will probably skip buying the extra hearts anyway, and the fact that Wario has to purchase the next world in line instead of simply progressing to it just feels like a forced reason to have Wario spend his gold. At that point, Wario’s treasure may as well just be for a high score.
Still, while Wario’s abilities may have been trimmed down, and he may as well be holding his gold, I do ultimately feel that Wario Land: Shake It! has aged better than its predecessors. Its level design (and the optional challenges therein) get progressively more difficult and clever as the game goes on. And with the aforementioned mechanic of racing back to the start of the levels after rescuing its Mertle, Good-Feel finds various ways to incorporate unique puzzle elements into the stages (oftentimes the player will have to pay close attention to how Wario interacts with the environment on the way to a level’s ‘end,’ so that he has a quicker path back to the starting point). In regard to this level design, Wario Land: Shake It! remains a creative platformer over a decade later. And its striking, hand-drawn imagery still stands out. Shake It! may not last long for those simply rushing through the levels, but because of the depth of the game’s exploration due to its collectibles and objectives, it should have completionists salivating.
Sadly, after Shake It!, Wario Land entered its longest hiatus to date, which continues to this day. Maybe one day, Wario will find a convenient enough time for himself to go on another adventure. But at least Wario Land’s last ride (so far) was one that still holds up today, and still looks as stunning as ever.
*Review based on WarioWare Touched’s release on the Wii U Virtual Console*
WarioWare, Inc. Mega Microgames was one of Nintendo’s unsung classics of the 2000s. WarioWare stripped the very nature of video games down to their bare minimum, leaving its many microgames as a platform for Nintendo to test out myriads of gameplay ideas. The concept of WarioWare was perhaps more fruitful than Nintendo initially realized, with the series’ formula allowing them to push the innovations of their hardware.
2005 saw two such WarioWare sequels. One of them, released on the GameBoy Advance (home of the original title in the series), was WarioWare Twisted, which had a built-in “gyro-sensor” that allowed for motion controls. The other was WarioWare Touched on the Nintendo DS, which utilized the handheld’s touchscreen and microphone features.
Admittedly, Twisted has aged far more gracefully, with its gameplay features still feeling unique today. That’s not to say that Touched has aged poorly, but because its (pardon the pun) ‘twist’ was that it utilized features that were standard on the DS, it’s kind of lost some of its individuality over time. The later WarioWare Smooth Moves on the Wii would similarly use its platform’s capabilities, but I feel that Smooth Moves managed to do so with considerably more creativity. Smooth Moves brought out the best it could from the Wii’s features, whereas Touched feels more like it’s falling in line with its platform’s standard.
Again, that’s not to say that WarioWare Touched is a bad game by any means. It is WarioWare, after all. And if it doesn’t leave you with some kind of goofy grin on your face at one point or another, you may be dead inside. The issue is simply that Touched is the one entry in the WarioWare series that no longer stands out.
The basics of the series remain intact in WarioWare Touched: Players face gauntlets of seconds-long microgames, with each character in the game boasting their own such series of games. You only get four chances to slip-up before a game over, and the microgames pick up in speed after you have conquered a number of them (the tougher gauntlets naturally increase speed much sooner than the earlier challenges).
The difference here, of course, is that along with button presses, the microgames of Touched are mostly played with the touchscreen controls of the Nintendo DS (or Wii U Gamepad, if you’re playing the Virtual Console release), and some of the latter microgames even utilize the mic on the system for some delightful gameplay quirks.
WarioWare Touched can be a lot of fun at times, with the simplicity of the series’ gameplay being complimented by the DS’s hardware features. Whether you’re swiping, tapping, spinning, or tracing, Touched is a fun example of how the WarioWare series can be used to showcase gameplay ideas and utilize hardware.
On the downside, simply being WarioWare on the DS no longer really stands out for the series. Subsequent WarioWare titles have been released on the DS and 3DS, which boasted additional gameplay innovations on top of the DS’s touchscreen features. WarioWare D.I.Y allowed players to create their own microgames, and WarioWare Gold features most of Touched’s microgames, in addition to those from Mega Microgames and Twisted, plus a number of games of its own. So being the “DS WarioWare” no longer works in Touched’s favor, and hasn’t for quite some time now.
WarioWare is almost always going to a fun experience (Wii U’s Game & Wario being the exception), and the simplicity of the DS’s features has its charms. But it would be hard to recommend WarioWare Touched over a number of its sequels. There’s still good fun to be had with WarioWare Touched, but it’s short-lived, especially when you consider the great replay value the series is capable of.
Despite having originally been released in 1983, Bomberman is a timeless game, comparable to Tetris or Super Mario Bros. in this regard. Like Tetris, Bomberman is the kind of game that’s held up well enough that it could be ported to any modern console or device and be justified in doing so. And like Super Mario, it has produced numerous sequels in the decades since its original release.
But Bomberman sits somewhere between Tetris and Mario. Tetris is still released on every available platform to this day, and Super Mario Bros. – though holding up well on its own merits – has been bettered multiple times over by its sequels. Bomberman, meanwhile, has seen many iterations through the years, and while some of them have added a lot to the formula (Saturn Bomberman being a particular highlight), many of its sequels are so close to the original that they can feel more like ports.
That brings us to Bomberman GB. As its name implies, Bomberman GB was to be the Gameboy edition of the series. Released in 1994, Bomberman GB successfully brought the classic Bomberman gameplay to the handheld. But for the game’s release outside of Japan, Bomberman GB was given a slight makeover. Hudson Soft (Bomberman’s now-defunct original developer) and Nintendo decided to add one of the latter’s characters into the game, and chose to use Wario, the comically villainous “anti-Mario” who had debuted two years earlier in Super Mario Land 2 and quickly became one of Nintendo’s most iconic characters.
The end result was Wario Blast: Featuring Bomberman, a game which successfully translates the Bomberman gameplay to Nintendo’s Gameboy handheld, but doesn’t do too much more than that. Though Wario Blast is fun, it’s far from the best Bomberman game, and the fact that Wario’s presence in the title is simply cosmetic means his addition – while welcome – isn’t exactly meaningful.
Like any traditional Bomberman game, the goal is to eliminate all of your opponents on the battlefield. Your weapons are (quite obviously) bombs, which you use to destroy obstacles in your path, and ultimately try to blow up your opponents. The bombs explode in lines that travel in four directions, and you are susceptible to your own bomb blasts, meaning you’ll often have to take cover behind walls to avoid destruction by your own hand, as well as your enemies’.
Some of the usual Bomberman power-ups also return, and can be found after destroying certain obstacles. The bomb power-up allows you to plant an additional bomb on the field (one extra bomb for every power-up gained), while the fire power-up increases the range of your bombs’ explosions (making it easier to destroy your foes…and yourself). There is also a skull power-up, which is something of a double-edged sword. At first, the skull power-up seems purely bad, as it temporarily removes your ability to plant bombs (as well as the character skills you learn as the game progresses). But on the plus side, if you’re crafty enough, touching an opponent while under the effects of the skull will remove their ability to plant bombs as well. And if you infect an enemy with the skull, its negative effects will wear out on you before them, making for an easier target.
In a nutshell, it’s Bomberman, but on the Gameboy. On the plus side, Bomberman is one of the few games that could be translated onto the original Gameboy and not feel like it’s sacrificing the series’ quality for the sake of portability. On the downside, it’s Bomberman… but on Gameboy. That’s all well and fine, except unlike Tetris, this isn’t supposed to be a port, but is instead one of Bomberman’s less creative sequels.
There are some changes, with the most prominent (aside from Wario’s mug being added to the game) being that the rest of Bomberman’s usual items (such as the ability to kick your bombs forward) are now instead permanent abilities that are learned after defeating bosses.
There are eight worlds in the game, each comprised of four stages (again, bringing Super Mario Bros. to mind). The first three stages of each world are the traditional Bomberman battles (the first against a single opponent, the second against two, and the third against three), which are played in best two-out-of-three rules. The fourth stage of each world is the boss stage.
Though the game allows you to play as both Bomberman and Wario, the change really is purely cosmetic. The only difference is Bomberman’s non-boss enemies are Wario clones, and Wario’s are Bombermen (additionally, the passwords for each stage differ between the two characters). And considering these are Gameboy sprites we’re talking about, the cosmetic change only goes so far (though in all honesty, just play as Wario. You can play as Bomberman in any Bomberman game, so you may as well play Wario and benefit from the crossover aspect).
Though the game is short (it probably won’t take much longer than an hour), the fact that each world introduces new stage gimmicks means there’s some fun variety throughout. And I enjoy the two-out-of-three nature of the stages. Though even with these benefits, Wario Blast does feature some unfortunate shortcomings.
One of the big issues is that – with the abilities gained from the first few bosses – the player quickly becomes overpowered. I can accept the usual power-ups from the series are made into learned abilities (though there’s also an argument to be made that aspect in itself takes something away from the experience), but one ability which sees the player learn how to dash an enemy against a wall to stun them makes the proceedings way too easy. The early stages will see the AI try to outmaneuver you (to varying degrees of success). But in later stages, you can just pick up bomb and fire power-ups as you go, and once you run into an enemy, just dash them into a wall and plant a single bomb for an easy win.
Another problem is that there’s an awkward few seconds after your opponents have been defeated where you can still potentially die before the victory screen is displayed. You’d be surprised how often you’ll end with a draw and add another round to the best two-out-of-three because of it.
While Wario Blast may have a number of elements holding it back, I have to reiterate that the classic Bomberman gameplay will always be fun. And sure enough, Wario Blast: Featuring Bomberman is a rare example of a Gameboy title that’s still fun to play today. But Wario Blast does suffer from being one of the more basic Bomberman sequels, offering little to the experience that you couldn’t find in every other Bomberman title.
Perhaps the biggest missed opportunity of Wario Blast, however, is the simple fact that Wario’s inclusion in the game was merely shoehorned into the game’s international release. Perhaps if Wario Blast lead to some follow-ups of its own that integrated Wario’s presence into the proceedings in more meaningful ways relating to gameplay or level design, it would be easier to look past Wario Blast’s underutilization of its namesake character. But because this was the beginning, middle and end of Wario butting heads with a third-party character, it’s more than a little disappointing that the game never had a real chance at fully delivering on its concept.
Think about it, what better video game character is there to go toe-to-toe with various gaming heroes than Wario? Super Mario is the face of gaming, so it only makes sense that the “anti-Mario” would try to sabotage other people’s games and try to slap his face on them. Hudson Soft and Nintendo could have been onto something here with Wario Blast. Sadly, instead of seeing Wario face off with Bomberman again, or try to hijack Mega Man, Castlevania, or any other series, it all ended just as soon as it began. By the time Bomberman GB 2 made its way westward, Wario was nowhere in sight…
But hey, Wario Blast is still fun. And that definitely counts for something.
*Review based on the NES version of Wario’s Woods, as released on the New Nintendo 3DS Virtual Console*
Wario’s Woods was released simultaneously on the NES and SNES in 1994 (being the last officially licensed game released on the former). Unfortunately for Wario’s Woods, it saw very little attention in its day, seeing as gaming was well into the 16-bit generation, meaning the NES version went under the radar, while the SNES version was released amid many more high profile games. That’s more than a little bit of a shame, because Wario’s Woods brought an interesting twist to the falling-block puzzle genre.
Working as something of a cross between Tetris and Dr. Mario, Wario’s Woods sees players try to eliminate multi-colored monsters from a playing field. Getting rid of these monsters will require the aid of similarly colored bombs. By lining up a row of at least two monsters and one bomb of the same color (either horizontally, vertically or diagonally), you will destroy the monsters. If you can create a stack of at least five objects of the same color (again, with at least one bomb required), the eliminated monsters will leave behind a colored gem. If you line up monsters or bombs with a gem of the same color, every object of that color will be removed from the playing field instantly.
Be weary, if you can’t keep chains of eliminations going fast enough, Wario will appear above the field for a short time, summon more monsters, and lower the ceiling, decreasing the amount of space you have to work with (the ceiling can be raised, as you may have guessed, by completing more rows).
It may sound like standard fair for the genre, but the big twist Wario’s Woods brings to the table is that you manually control an on-screen character. Taking inspiration from Super Mario Bros. 2, Wario’s Woods pits Toad in the spotlight (well before he earned the title of ‘Captain’), who has to pick up and place the monsters and bombs under direct control of the player.
Toad can lift and drop whatever object is in front of him with a push of the B button, and can lift and drop an entire stack of objects with the press of A. Toad can of course only lift things that are level to him, but has slightly more leeway when dropping them (three squares of the playing field above his head). He can even kick an object to the next open space by pressing down on the D-pad along with one of the key buttons. Toad can also drop items/stacks directly underneath himself, and objects Toad is currently holding will also count towards a completed row should it match up. Mechanics like this can really be lifesavers if you find yourself sinking down the board amidst the rising stacks of monsters. Unfortunately, the aforementioned gems are too heavy for Toad to lift, meaning the player will have to get extra crafty if they want to take advantage of their ability.
It sounds pretty simple, but it’s pretty incredible how addicting the gameplay can get. This is one of those games that you can seriously lose track of time with. Wario’s Woods even keeps things fresh as you push further through the game, introducing monsters that can only be eliminated with diagonally-placed rows, and monsters that require to be part of two completed rows in quick succession in order to be vanquished.
The game consists of two different versions of its story mode (oddly referred to as “Round Game”), categorized as “A Mode” and “B Mode.” Both versions feature 100 courses, with the only difference I can tell being that the B game features boss fights. This is a game that doesn’t mess around, either. Wario’s Woods can get brutally difficult at times, with some levels seemingly punishing the player with certain death over one slight miscalculation.
It’s pretty long for a falling-block puzzler, especially on NES. Fortunately, this was one of the few games on the NES with a save function, with every fifth level working as a checkpoint for the player’s progress (with every completed fifth level being selectable thereafter). The downside to this is that if you’ve completed four straight levels and lose on the fifth, you’ll have to go through the previous four all over again. You can obtain continues which can be used to replay the current stage upon defeat, but you can only do so by collecting 30 coins. And you only get these coins if you complete a stage fast enough (every time Wario’s ugly mug shows up, 20% of the stage’s possible coins are deduced). So most continues you get will be obtained in the early stages. Because, again, this is one tough puzzle game. Only the most diehard puzzle fans will consistently claim coins in the game’s later stages.
The difficulty in claiming continues may be off-putting to some, especially considering the game’s already steep learning curve (okay, the basics are simple, but mastering them well enough to finish the stages quickly while avoiding Game Overs is another beast entirely).
One cumbersome element takes place when the objects fill the screen and the ceiling falls to the point that Toad can only move horizontally in a crawlspace equal to his size. You kind of wish, in these specific instances, that Toad could swap positions with the object directly in front of him. Because at this point, the game is essentially over, unless an enemy/bomb spawns in just the right spot to complete a row out of sheer luck. Some might say this is in the same tradition as Tetris picking up speed until you can no longer control it, but Tetris is a game you play as long as possible to beat your high score. Wario’s Woods features stage progression, so it can be frustrating when you get to the point when you know you’re going to have to replay the last few stages over, but just have to watch helplessly as Toad inevitably gets crushed, unless sheer luck buys you an extra few seconds.
Wario’s Woods also features a time attack mode and a VS. mode for two players, which could certainly become intense showdowns. These alternative modes give Wario’s Woods some variety, and can give you a much needed break when the “Round Game” gets too difficult.
One issue with the game is more of a recurring issue with Nintendo itself. And that’s how it’s the NES version of Wario’s Woods that keeps seeing re-releases, as opposed to the SNES version. For an NES game, Wario’s Woods looks great (being released so late in the console’s life, the game’s visuals are comparable to Kirby’s Adventure in how they push the NES), but it still doesn’t look as good (or as timeless) as the SNES version. What’s worse, every stage in the NES version has the same music. And while it may be somewhat catchy, the lack of audial variety does take something away from the experience.
It’s the NES version that has been released on every downloadable service Nintendo has provided, from Wii to Switch. It’s reflective of a weird trend with Nintendo where they seem to constantly be re-releasing NES games, but rarely those from their other systems. And that’s a shame because (unpopular opinion incoming) aside from the Mario and Mega Man games, not a whole lot of NES titles hold up. Meanwhile, the SNES has a timeless quality to the gameplay and aesthetics of so many of its games, that Nintendo’s apparent preference for its predecessor is dumbfounding. At least Wario’s Woods can claim to be among the handful of NES games not called Mario or Mega Man that’s still fun, anyway.
Wario’s Woods is a challenging puzzle game, no doubt. But those with the patience for it will find an incredibly addicting and rewarding experience that will keep them coming back. Now if only Nintendo could remember that this game was also released on Super NES…
*Review based on Wario Land 4’s Wii U Virtual Console release*
Here’s an unpopular opinion: The original Game Boy hasn’t aged well. Sure, there are a few games from the original Game Boy that hold up decently (namely Game Boy Color exclusives), but for the most part, its games represent a time when the convenience of gaming on the go came at the expense of quality. The Game Boy Advance, however, marked a time when handheld games began to capture a more timeless quality. The GBA was the SNES to the Game Boy’s NES, with its predecessor feeling archaic (save for a handful of titles) while it itself holds up so well, it doesn’t feel like a retro console at all.
Case in point: Wario Land. Wario Lands 2 and 3 on the original Game Boy were once hailed as some of the best handheld games of all time, and while they’re still decent to play, they’re getting on a bit. Wario Land 4, on Game Boy Advance, however, is still a worthwhile platformer today. Perhaps not an all-time great, but it’s certainly not disappointing to revisit.
Like its predecessors, Wario Land 4 is all about the greedy anti-Mario’s quest for treasure. This time, Wario is pillaging an ancient pyramid in the middle of a jungle, but gets trapped inside and has to find a way to escape, all while collecting as much treasure as possible, of course.
Wario retains his brutish strength from the past games, with his charging attack, ground pound and ability to pick up and throw enemies intact. Additionally, by holding the R button, Wario can run at such a great speed, that with enough momentum, his hard noggin can break through blocks that even his charge attack can’t budge. Similarly, if he ground pounds from a great enough height, he can also destroy these stronger blocks (there’s even one puzzle in the game that cleverly combines this with a teleporter, meaning that Wario was thinking with portals even before Portal).
The structure of the game takes a different approach from its predecessors, however. There’s a quick tutorial that shows you the ropes of the game (it’s actually one of the better tutorial levels I’ve seen, effectively condensing all the game’s elements to their bare basics, thus giving you insight to the entire adventure ahead). After that, the game features four worlds, which you can play in any order you see fit (and if you get stuck in one world, you can leave it and do another for the time being). The worlds themselves follow a more linear structure, however, with each featuring four stages and a boss fight at the end.
Stages work a bit differently here than they did in past Wario games (and most platformers in general, for that matter): Wario searches through the levels collecting treasures, but instead of a traditional goal found at the end of a stage, each level features a statue of a blue frog (why not?) that, when jumped on, activates a timer. With the time ticking down, Wario has to make his way back to the beginning of the stage, where a portal now waits to take Wario back to the hub. Naturally, Wario gets to keep every treasure he collects if he makes it back before time runs out.
While most of the jewels and coins scattered about add to Wario’s score, each level also contains three unique treasures: One is a bird with a key for a beak (again, why not?) which is needed to unlock the next level in that given world. Another treasure is a tablet separated in four pieces found in golden treasure chests, with all four pieces in all four stages needing to be found in order to open the boss door. Finally, a well-hidden music CD can be found and subsequently played in the sound room of the pyramid’s overworld.
While these items add some extra depth to the stages, it’s kind of a shame that – aside from the CDs – they’re required to complete the game. Had there been more non-story items, Wario Land 4 would have a fun staying power for completionists, instead of most return visits to levels being out of necessity for having missed a key or one of the four tablet pieces the first time around.
The levels themselves are well designed and creative. It’s fun to search through them for treasures, and they never feel so labyrinthian as to be confusing. The stages are also less bland than in the past few Wario Lands, with fun gimmicks added into the mix. One of my favorite stages is built around knocking over stacks of dominoes, then racing to the end of a room before the final domino falls and hits a switch that closes off a treasure.
Level design is always a make or break factor for platformers, and the clever structure and gimmicks of the stages of Wario Land 4 ascend it above its predecessors. There are, however, two notable elements that prevent Wario Land 4 from reaching its full potential.
The first such issue is that, while Wario retains his ability to gain special powers after being struck by certain enemy attacks (swelling up and floating like a balloon when stung by a bee, sliding across surfaces when frozen by an enemy, etc.), Wario is no longer invincible as he was in Wario Lands 2 and 3. In the past games Wario would gain such abilities from almost every foe (with the exceptions merely robbing Wario of coins), here you rarely know when an enemy attack will give Wario a power, and when it will just take health away. It unfortunately gives the game a gambling element that wasn’t present in the past.
The other issue is the process of fighting the bosses of each world. Not only do you have to find all of the aforementioned tablet pieces in each level just to face them, but every boss also features a time limit. If you take too long to defeat a boss, you’ll miss out on the opportunities to claim all of their treasure chests. That’s not so bad on its own, as before every boss fight, Wario has the opportunity to purchase special items (from what looks like Mr. Game & Watch), which are then used to damage the upcoming boss before the fight begins. Some items will do marginal damage, while others will nearly take out the boss on their own. That may sound like a cheat, but considering this is a Wario game, it’s actually a fitting element that compliments Wario’s character and humor.
None of that is a problem on its own. The whole boss process becomes an issue, however, by the simple fact that you can’t just purchase the boss items with the treasure Wario collects along his adventure. Instead, you purchase the items with special tokens. You get these tokens by spending your points/treasure to play one of three mini-games located before the boss fight of each world. You are then awarded tokens based on your performance in these mini-games. The problem is that acquiring these tokens can take a fair amount of time, and with how slowly Wario chips away at the bosses’ health on his own, you’re going to want to spend the extra tokens for the more powerful items to beat the bosses as quickly as possible. So if you want to claim every boss treasure and complete the game at one-hundred percent, you have to repeat the process all over again if you can’t beat the boss fast enough the first time around. Some might say that’s a fair price to pay since the game essentially gives you the ability to cheat, but buying these items is optional anyway. So why not just use your points to buy the tokens and skip the mini-games? It’s just a tedious process that seems counterproductive.
Aside from those elements though, Wario Land 4 remains a winner in most respects. Wario himself controls better than ever, with his every action feeling far smoother than in past games. The level design finds some fun and creative ways to mix up the formula. The game still looks great with its colorful graphics and vibrant animations, and the soundtrack stands tall above its predecessors, meaning that collecting those CDs is worth the effort.
It may not be among the best games on the Game Boy Advance, but Wario Land 4 is another testament that the GBA is when handheld gaming truly made it.
With a name like Super Smash Bros. Ultimate, the Switch’s edition to Nintendo’s massively-successful crossover fighter certainly gave itself a lot to live up to. Somewhat miraculously, Ultimate manages to pull that very feat off, delivering what is undoubtedly the best entry in the long-running series to date. Bursting at the seams with content and fine-tuning the series’ gameplay, Super Smash Bros. Ultimate lives up to its lofty expectations, even if a lackluster adventure mode and a thin (and inconsistent) lineup of new fighters means it doesn’t quite surpass them.
Super Smash Bros. really doesn’t need an introduction at this point. The franchise has become one of Nintendo’s biggest sellers thanks to its engrossing gameplay, which combines elements of traditional fighting games with Mario Kart-esque party elements, all while incorporating sumo style rules that make it unique unto itself.
By ‘sumo style’ rules, I of course refer to Super Smash Bros’ key mechanic of sending opponents off the screen – similar to sumos throwing each other out of the ring – in order to defeat them, as opposed to depleting a health bar as in most fighters. Though with that said, the ‘Stamina mode’ first introduced to the series in Melee, in which players do deplete each other’s health, returns as one of Ultimate’s primary game modes, no longer relegated to a kind of bonus mode as in the past.
That seemingly small change is indicative of the very nature of Super Smash Bros. Ultimate. This is the Super Smash Bros. that attempts to legitimize every play style for the series, and to appease every type of Smash fan. And for the most part, Super Smash Bros. Ultimate wildly succeeds in doing just that.
If you’re a serious Smash player, you can remove items and play on flat stages a la Final Destination or small stages with minimal platforms in the vein of the classic Battlefield stage, with no match-altering Final Smashes included. Players who want chaotic fun can have all items active, Final Smashes turned on, and enable every last, crazy stage hazard and gimmick. Or, if you’re somewhere in between, you can play on the standard stages with the gimmicks turned off, only allow Final Smashes by means of building up a power meter during battle, and only enable the occasional Pokeball and Assist Trophy in regards to items.
The ways in which you can customize matches are boundless. This really is the Super Smash Bros. that can appeal to any Nintendo fan. At least in terms of the core gameplay, that is.
If there is one glaring downside with Super Smash Bros. Ultimate, it’s with the game’s adventure mode. Dubbed ‘World of Light,’ Ultimate’s adventure mode is mind-numbingly tedious, and simply not worth the time and effort it takes to see it to the end.
In World of Light, players initially take control of Kirby, the only survivor of a Thanos-style mass extinction, as they progress through one battle after another, unlocking the other characters and collecting ‘Spirits,’ which are won after defeating opponents in possession of said Spirits.
These Spirits are a new feature in Ultimate, replacing the series’ long-standing trophy collectibles. It’s ultimately an unfair trade. While the trophies of Smash’s past featured unique character models and gave some insights into Nintendo (and gaming) history, the Spirits are merely presented as stock promotional art from past games, and provide statistical bonuses to your characters when equipped. Spirits can grant boosts to attributes like strength or speed, or provide you with a special ability (such as starting fights with a particular item, or being resistant to certain types of attacks).
This may sound interesting in concept, but it kind of goes against the very nature of Super Smash Bros. This is a fighting series all about learning the different play styles of the various characters. So if you have Spirits activated in the standard game, it makes things more about who has the best Spirits equipped, as opposed to who played the best in any given round.
Suffice to say the Spirits find all of their appeal in the single player World of Light mode. Though even then, the game often mishandles their usage. Pulling a page out of Paper Marios Sticker Star and Color Splash, there are a number of battles in World of Light in which it is necessary to have specific Spirits equipped in order to win. If the Spirits gave you advantages in these situations, that’d be fine. But on more than one occasion you will come across a battle in which victory is impossible unless you have a specific Spirit equipped.
Another issue with World of Light is that it’s just too long for its own good. It features an unnecessary amount of branching paths, alternate routes, and overall battles. And when it finally looks like you’re done with it, World of Light pulls a Ghosts ‘N’ Goblins on the player and extends the adventure by rather lazy means. To detract from the experience even further, World of Light is exclusively played by a single player. Super Smash Bros. Brawl’s adventure mode, Subspace Emissary, was far from a winner, but at least I could play that with a friend.
Not to mention Subspace Emissary served as a fast means of unlocking every character. But World of Light just drags on and on, with the lonesome tedium making you seek one of the many other means of unlocking the characters (thankfully, there are no shortage of options when it comes to expanding the roster). The fact that World of Light actually makes me long for Subspace Emissary could be a sign that maybe Super Smash Bros. is better off without an adventure mode at all.
Of course, the adventure mode is just a small part of the overall package, and every other mode included in the game delivers in spades: Classic Mode is more fun than ever, and includes unique challenges for every last fighter. Tournaments are easier to set up than ever before. New Squad Strikes have players selecting teams of characters and eliminating them one by one. Smashdown sees players cycle through the entire roster one at a time, with previously selected characters getting locked out after use. The variety never ceases to impress.
On the concept of variety, the biggest selling point of Super Smash Bros. Ultimate is that every playable character from the franchise’s history is present. If they were playable in a past Super Smash Bros. title, they’re playable here. So those of you who missed Solid Snake for being omitted from Super Smash Bros. on Wii U/3DS, he’s back. Young Link and Toon Link can now face off against one another. Pichu makes his return after seventeen years (they can’t all be winners). The DLC characters from Wii U/3DS return. Even the good ol’ Ice Climbers have found their way back to the series, after technical limitations on the 3DS prevented their appearance in the last installments. And yes, we even get a handful of new characters joining the fray, meaning that Super Smash Bros. Ultimate has all of the character variety of each and every one of its predecessors put together and then some.
Speaking of the new characters, that’s where things can be a bit inconsistent when it comes to selections. Ridley and King K. Rool feel like the most meaningful newcomers, given that they’ve been in high demand from fans since Melee. Splatoon’s Inklings also make sense as they represent one of Nintendo’s contemporary success stories. And Simon Belmont feels long overdue in the third-party character department (seriously, besides Mega Man, what other third-party character even compares to Castlevania’s early history with Nintendo?).
The remaining newcomers, however, are a bit of a mixed bag. Isabelle from Animal Crossing – though a welcome addition in her own right – doesn’t exactly come across as a character fans were dying to see join the series. Incineroar feels like he could have been any randomly selected Pokemon. And the downloadable Piranha Plant just feels like a big middle finger to the fans who have been requesting their favorite characters for years. That’s not to say that these characters detract from the gameplay by any means. But for a series so grounded in fanservice, some of these character selections feel misguided.
Perhaps with more newcomers the more disappointing entries wouldn’t stick out so much. But with most of the emphasis going towards bringing back every past character, you kind of wish that the smaller quantity of newcomers would have translated to a consistent quality. And that’s unfortunately not always the case.
Some fans may also lament that clone characters – now officially referred to as “echo fighters” – are still present, but at least now they’re categorized appropriately, and not treated as though they’re full-on additions to the franchise.
Still, it’s hard to complain too much when Ultimate boasts seventy unique characters (with more on the way via DLC. Here’s hoping some favorites make the cut). There’s simply never a shortage of characters to choose from, and all of them bring their own sense of fun to the gameplay (with the possible exceptions of the excessive amount of sword fighters from Fire Emblem, who often feel interchangeable even when they aren’t clones).
Each character’s Final Smash has also been altered this time around, as they take on a more cinematic approach. Unfortunately, while the Final Smashes look more impressive than ever, their infrequent interactivity makes them less fun than in previous installments. This was probably done for the sake of balance, which is admirable. Though chances are, if you have Final Smashes active, you aren’t exactly aiming for a balanced, competitive bout.
The stages also adhere to Ultimate’s “everything but the kitchen sink” mentality. Although there are a few omissions, the majority of stage’s from past Super Smash Bros. titles make a return (unfortunately, Brawl’s Electroplankton-inspired stage is bafflingly among them). There are only four brand-new stages in the base game: Odyssey and Breath of the Wild themed levels for Mario and Zelda, and courses based on newly-represented series Splatoon and Castlevania. That may not sound like a whole lot of newness, but more stages are planned to be added along with the DLC characters. Besides, with the returning courses, Super Smash Bros. Ultimate includes over one-hundred different locations to do battle. And as stated, every last stage comes in three different versions (standard, Battlefield, and Final Destination), so you’re not very likely to get bored from repetition.
For those who don’t always have someone at the ready for some couch multiplayer, Super Smash Bros. Ultimate also expands the series’ online capabilities. Creating online matches has been streamlined by means of creating arenas, where players can set the rules as they see fit. You can even search for specific rulesets if you want to join an arena that’s more to your play style (though admittedly, the search engine needs some work). It’s now much, much easier to set up or join an online match and play with or against Smash players from around the world.
Sadly, the online functionality still isn’t perfect. Though lag is considerably less frequent than in Brawl or Wii U/3DS, it’s still present more often than you’d like. It isn’t limited to worldwide matches, either. I’ve encountered some slowdowns in games against my friends. Again, the lag isn’t so common as to detract from the overall experience, but considering that in five years’ time I’ve never encountered any lag issues in Mario Kart 8 (whether on Wii U or Switch), you have to wonder how and why Nintendo can’t replicate that level of online functionality with their other multiplayer franchises.
Other quibbles with the online mode include some minor (but no less irritating) design quirks, such as leaving your place in cue for the next fight in an arena just to change your character’s color (let alone change your character). Or why entering the spectator stands also removes you from cue (why the cue and spectator stands aren’t one and the same is anyone’s guess). Again, these are all just minor annoyances, but you have to wonder why they’re there at all.
Of course, it must be emphasized that, with the exception of the World of Light adventure mode, all of the complaints to be had with Super Smash Bros. Ultimate are minor grievances in the big picture. The series’ signature gameplay has never felt so polished, the content has never felt this endless, and with every last character in franchise history present, Super Smash Bros. has never felt this complete.
Super Smash Bros. Ultimate is also a technical showcase of the Switch’s capabilities. Though it retains a similar overall look to Super Smash Bros. for Wii U/3DS and Brawl, the graphics are much sharper and more refined. The level of background detail in the stages themselves – often so small you’d never see them in the heat of battle – is a testament to the abilities of the artists behind the game. The character animations are similarly impressive, especially those with unique characteristics (such as DK’s eyes bulging out of his head when hit, Donkey Kong Country-style; or Wario’s manic, sporadic movements).
Complimenting these visuals is a soundtrack that represents an unrivaled array of video game music, featured in both their original and new remixed forms in addition to many remixes from past Super Smash Bros. installments. Unfortunately, I don’t think there’s quite as many new pieces of music added into the fray as Brawl and Wii U/3DS brought to the table, but it’s hard to complain too much when the music is this terrific. Not to mention the soundtrack to Super Smash Bros. Ultimate is inarguably the biggest library of classic video game themes ever compacted into a single game.
On the whole, Super Smash Bros. Ultimate is an absolute winner. Its overall sense of newness may not be as prominent as the past few entries, but its inclusion of the best elements of every past installment, along with each and every last one of their characters, makes this the definitive entry in the long-running Super Smash Bros. series to date. With the exception of its egregious adventure mode, everything about Super Smash Bros. Ultimate is exploding with fun. With so many characters, stages, modes, and options, the content included in the package is seemingly bottomless, leading to an unparalleled replay value.
Super Smash Bros. Ultimate is not only the best game in the series, it’s one of the greatest multiplayer games ever made.
On paper, Wario World sounds like some kind of dream come true: a beat-em-up starring Wario created by Treasure, the developer behind such outrageous action games as Gunstar Heroes and Dynamite Heady? Sign me up! Unfortunately, in execution, the 2003 GameCube title falls well below expectations. And what should have been an easy winner for Treasure and Nintendo instead feels like a tedious time-waster, and a missed opportunity.
Of all Nintendo’s iconic characters, Wario seems to be the most fitting to star in a beat-em-up. The burly anti-Mario is a greedy, selfish brute. It just makes sense for him to be the one to pummel enemies to a pulp over pretty much any other Nintendo character. And Wario World gets off to a decent start in that regard.
Wario can punch enemies, perform his signature charge attack from the Wario Land games, and perform a ground pound (as platforming heroes wont to do). But this time around, Wario can also pick up KO’ed foes and proceed to throw them, swing them around, or pile drive them like a pro wrestler.
Similarly, the enemies at first seem to show some promise: You have tiny foes who are taken out with a single punch. Slightly bigger foes get knocked out after a few hits, thus allowing you to perform the aforementioned throwing, swinging and pile driving. And some large and flying enemies show up and require a little more clever uses of Wario’s abilities.
At first glance, you might think Wario World is heading in the right direction. But then it quickly becomes apparent that you’re just doing the same thing over and over again. There’s not enough variety (or polish) in the combat to make Wario World feel like a memorable beat-em-up. And much like Wario’s moveset, the enemies also rapidly reveal their limitations, with each of the game’s stages simply putting different skins on the same few enemy types.
The only thing preventing the game from reaching absolute monotony is if you’re gunning for 100% completion. Each level houses eight bonus stages, with red rubies waiting at the goal of each. The bonus rounds range from single room puzzles to platforming challenges that bring to mind the bonus stages of Super Mario Sunshine. You only need some of the rubies to complete a stage (three in World 1, four in 2, five in 3, and six in 4), but for completionists, there are more to get your hands on.
Other collectibles include eight fragments of a gold Wario statue on every level, with completion of a stage’s statue increasing Wario’s health by half a heart. There are also eight unique treasures to be found on every level, which appear on a certain colored pad on the ground if you’ve found and pressed the button of the same color. Finally, there are five captive ‘Spritelings’ to be rescued on every level. The more Spritelings you rescue, the better the game’s ending will be for Wario.
It may sound like Treasure added a good amount of content to the stages via these collectibles, but unfortunately, there are more than a few elements that make you not really care about what Treasure crammed into their levels.
Along with the repetitious combat and bland enemies, the camera controls are exceedingly clunky (which makes the Sunshine-esque bonus stages way more difficult than they’d otherwise be), and the level design leaves a whole lot to be desired. Without good gameplay and level design, the collectibles come across more like an arduous chore than an engaging side quest.
If on the off-chance you actually manage to get into Wario World, you won’t be into it very long. The game features four worlds plus a final boss, with each world housing only two stages and a boss fight of their own. The whole game can be completed in a couple of hours, which wouldn’t be a bad thing if what the game did boast were memorable. Sadly, it isn’t. This makes Wario World feeling completely absent of depth and creativity, leaving the game feeling shallow and pointless.
It’s hard to recommend Wario World to anyone but the most diehard of GameCube nostalgics. While the concept shows some promise (especially when paired with its developer), Wario World fails to fulfill that promise. Though it looked decent in its day, Wario’s sense of control felt more like something from the early years of the Nintendo 64, as opposed to the GameCube title it actually was.
Somehow, what should have been a wonderful joint venture between Nintendo and Treasure ended up being a disappointment to both parties involved, let alone the player.
Wario’s misadventures continued on the Game Boy Color with Wario Land 3. As the third installment in Wario’s initial platforming series, Wario Land 3 polished what its predecessors started, and added some new tricks of its own into the mix. It was such an improvement over the first two entries that, upon its initial release in 2000, Wario Land 3 was widely hailed as one of the best handheld games of all time. While the aging process has taken away some of the game’s spectacle (especially when one remembers the far more timeless Gameboy Advance was released the following year), Wario Land 3 remains a fun platforming adventure in its own right.
Like Wario Land 2 before it, Wario Land 3 sees its nefarious anti-hero as an invincible brute. He can charge through enemies without any worry of defeat. The greedy Wario risks losing only his precious treasure when struck by attacks that would do in other platforming heroes. And just like its predecessor, Wario doesn’t grab power-ups, but receives new abilities via ‘conditions’ which are inflicted upon him by enemies.
If Wario gets smashed on the head, he becomes as flat as a pancake and can float in the air. If snow should fall on Wario, he’ll become a snowman who can roll down hills and destroy enemies and obstacles. And in one of the game’s funniest gags, eating a donut will transform our hero into Fat Wario, who can fall through floors and, despite having reduced jumping height, will launch enemies into the air when he lands back on the ground.
Once agin, this not only makes for some fun gameplay and unique twists on platforming norms, but also shapes Wario’s character. Mario is a selfless hero, so we want him to succeed. Ergo, Mario getting hurt results in losing a life. Wario, by contrast, is a greedy buffoon who only wants to make himself richer. As the player, we may help Wario out, but he still has to pay for his greedy ways by means of getting hurt to gain his powers. It’s actually a pretty unique example of building gameplay around a character, and visa versa.
Another unique aspect of Wario Land 3 is in its level progression. There are twenty-five levels total, but each stage has four different goals. The goals are four different treasure chests, with each chest requiring a similarly colored key to be opened. Although most of the time the chests have to be opened in a set order (often requiring the completion of another stage before you can get the others), you don’t need to open every chest in the game to face the final boss (Wario only needs to collect four magic music boxes from different treasures before the big showdown). This of course means that many of the chests are optional, and the game can continue after the final boss, should you so desire.
Unfortunately, there are some aspects to Wario Land 3 that haven’t aged well. Throughout the game, some treasure chests will reward Wario with a new move, enabling him to reach previously unreachable places. That may sound like a cool, light Metroidvania twist. But the issue is that most of the moves Wario learns along the way are moves he had from the start of Wario Land 2 (ground pound, picking up and throwing enemies, etc.). It actually makes the character progression feel a bit pointless if you’re mostly learning basic moves from the game’s predecessor.
Another problem arises with the game’s puzzles elements. While credit is definitely due for how Nintendo tried to expand on Wario’s various conditions by building new puzzles around them. But issues arise when the puzzles in question are either too easy (with Wario gaining the required ability then and there) or too vague, leaving you wondering what power you even need.
One other notable flaw in Wario Land 3 is its ‘Golf’ mini-game. This mini-game is already required for more treasure chests than it needs to be, but what’s worse is that it costs a decent number of coins every time you try it. And of course this mini-game has to have finicky and imprecise controls, meaning that you’ll be forking over a good amount of your hard-earned loot just to try the mini-game over and over again. And if you run out of coins, you have to scour the stage for more, which can take time. I would honestly take Wario Land 3’s vaguest puzzles over this mini-game, so it’s a real shame it shows up as often as it does.
While these elements do make Wario Land 3 feel more like a product of its time than one would hope, it still provides some classic Nintendo fun and Wario’s distinct charm. The levels are fun, and it’s entertaining just seeing what other messes Wario can get himself into all in the name of gold. But Wario Land 4 on Gameboy Advance and Wario Land: Shake It on Wii probably hold up better.