Top 5 Star Wars: Rogue Squadron Missions

Star Wars: Rogue Squadron has long been among my favorite video game tie-ins to George Lucas’ films. I loved how bold the original N64 entry was in exploring new worlds and crafting the narrative of Kasan Moor and Moff Seerdon through the eyes of the more well-known Wedge Antilles and Luke Skywalker. I also appreciated how fine-tuned its Gamecube sequels were, as their dogfights still rank among some of the smoothest-playing I’ve encountered in any sci-fi game that emphasizes ship-to-ship combat. The Rogue Squadron games were special, in that they devoted themselves to an aspect of the Star Wars universe that is far too often overshadowed by the mysticism of the Jedi vs. Sith conflict, and made a home-run with it. Even the third game’s insistence on shoe-horning on-foot missions was a minor setback when infiltrations into Imperial bases via a hijacked AT-AT or a preemptive strike on Imperial shipyards were account for. Below are my five very favorite missions across the three Rogue Squadron titles, and why they stood out so much.

#5 – Assault on Kile II: Some might consider my love of the Y-Wing to be odd, and that my insistence on using it in as many missions as possible over the course of the Rogue Squadron series’ run to border on having a death wish. I’m not sure when my obsession with the slow but heavily-armored Y-Wing began, but one of my earliest memories in piloting it come from the N64 mission Assault on Kile II, wherein Rogue Squadron must keep a low profile as they fly low to the ground, navigating a maze of increasingly narrow valleys. It’s a search for Imperial outposts that must be handled with the utmost care, lest the local patrols overwhelm Rogue Squadron. While the Y-Wing can take more of a beating than some of its brethren, its best to avoid combat while chugging through the tight passageways that link the few more open areas, as just one tailing TIE Fighter can shoot you down very quickly.

#4 – Death Star Attack: I will openly admit that I prefer when the Rogue Squadron games branch out into original scenarios as opposed to revisiting familiar battles from the films. However, as cliché a choice as it might be, there is no denying just how perfect a job the second game did in capturing the Rebel’s strike on the first Death Star. The opening cutscene that recreated the X-Wing and Y-Wing squadrons approach, the buildup to the iconic trench run, and then the tight quarters that the fighter pilots must account for as they race toward the exhaust port - all of this is handled in such a fine manner, and few other Star Wars games have since been able to match its quality in their own depictions of the Battle of Yavin. The chaotic laser crossfire depicted in the background, the huge jump from the first game in regards to super smooth textures of the various towers and turrets littering the Death Star’s surface, the multiple portions of the mission, and the sheer scope of its presentation were a magnificent showing for the first mission of this sequel, and hooked my eleven-year-old self in with wide-eyed wonder at what the rest of the game had in store.

#3 – The Search for the Nonnah: One of the earlier missions in the original Rogue Squadron has you searching for a downed transport known as the Nonnah on a wet and murky world. It’s a race against the sparse Imperial forces who are similarly scouring the area for the Nonnah’s crash site, and was among the first missions in the Rogue Squadron series to peel the focus away from combat. Instead, fighting the Imperial’s local deployed walkers and tanks is reserved for the end-mission climax, with everything beforehand a time-sensitive traversing of deep ravines and the occasional run-in with a small rival TIE Fighter squadron.

#2 – The Jade Moon: In what is one of the first major stepping stones in the narrative of the original Rogue Squadron, Kasan Moor accompanies the veteran pilots of the titular X-Wing squadron to the Jade Moon of the Loronar System. It was the first proper test of Moor’s loyalty to the Rebel cause, as she had only recently defected. At the start of the mission, Wedge Antilles voices his concerns about Moor’s trustworthiness, and though Luke wishes to focus on the task at hand, the eerie track that accompanies this assault on an Imperial Supply depot perpetuates an air of suspense and uncertainty - a tune made so apparently popular, that it saw reprises in both sequel games. It is a mission that pits Rogue Squadron against many different enemy types, from TIE Fighter variants, to AT-PT walkers, to rotating missile turrets, and does a great job at encompassing just how the members of Rogue Squadron behave during more high-risk scenarios.

#1 – Battle of Endor: This climactic battle from Return of the Jedi was exciting in the film, but the cuts back to Luke aboard the Death Star and Han, Leia, and Chewbacca on the forest moon sort of distracted from the true scope of the ship-to-ship combat. In Rogue Squadron II, it is fully realized, a nearly chaotic number of ships zipping in and out, this way and that. Your objectives change rather frequently, keeping you on your toes as you attempt to defend the Rebel fleet before pushing the fight back toward the Imperials. Facing down two Star Destroyers is one of the most immersive moments in this trilogy of games, and the slow approach toward them is the perfect buildup to one of the greatest tests of your piloting skills.

Wii Virtual Console review: Sin and Punishment

An arcade style scrolling shooter in the vein of Star Fox 64, Sin and Punishment is overflowing with 1990s Japanese style. The first level is set in a mega city where a small band of rebels strike out against the excessive numbers of soldiers that police the sector on foot, from VTOLs, and even with the aid of mechanized animals. Achi, Saki, and Airan are the game’s three main characters, the latter two being playable. Their character models move forward automatically, while you, the player, can move them side to side and aim the cursor to change the angle of fire from their guns. When it comes to close-quarters encounters, Saki and Airan can swing a beam blade out to deal a quick strike to a foe or to deflect an object at a moving target.

The theme of a small ragtag group seeking to undo a greater force that looms ever-present with superior numbers and firepower is consistent throughout, though topics like what it means to be a pureblood human vs. a human-ruffian hybrid and the potential to become a higher being also come into play – threads common to other video game and anime works from the late 1990s and early 2000s. The city is but the start of something much greater – the lead characters will infiltrate enemy ships, square off against giant mutant creatures, and fly about on mobile platforms as they attempt to neutralize an entire fleet of ships (and that’s just during the second mission).

Sin and Punishment is a title that was released very late in the N64’s life cycle, but even so it’s thoroughly impressive just how good this game looks and plays. Character models are highly detailed, and look five times better than the angular forms of the inhabitants of Ocarina of Time’s Hyrule or the pixelated versions of the Goldeneye Bond villains. While Sin and Punishment was a Japanese exclusive prior to the Virtual Console re-release, it incorporates English voice acting. Though perhaps not the greatest example of character voice acting on the N64, it is impressive how well the actors match their characters and how well the dialogue fits the era. The soundtrack is largely that of a classic synth-rock sound that perfectly complements the artistic direction of the game.

Similarly, the game controls incredibly smoothly, whether you are using the Wii Classic Controller or one from the Gamecube. Whereas Star Fox 64 had a (more or less) fixed camera centered behind the Arwing in the middle of the screen, Sin and Punishment’s frame sits at the ground level with the playable characters, tilting up, left, and right at scripted points within each mission to provide a better range of vision. The environments are even more highly-detailed than the characters, with excellent lighting effects and brightly displayed health and weapon icons placed at strategic points.

Sin and Punishment effectively drops you into the thick of battle without much in the way of a tutorial, though the controls can be referenced from the main menu prior to starting a new playthrough. Otherwise, the first few waves of enemies you face are relatively easy prey, granting you a few minutes to get used to the arcade shooter style of gameplay. Sin and Punishment is only a couple of hours long and does grant you a set number of retry attempts, but do not be fooled – this is a genuinely challenging game that rewards a trial-and-error approach. Its over-the-top action is cheesy in the most endearing way, while the presentation on the whole is top-notch.

My rating: 9 (out of 10)

Top 5 worlds in Super Mario 64

I've played many Mario Bros. games over the years. One of the biggest releases for the 3DS, Super Mario 3D Land, ended up being one of my favorites in the entire series. But I still have a soft spot for Super Mario 64. Ever since I played it on my N64, I have regarded it as not only one of the best platforming games I've ever played, but also the single best Mario game to date. The game is host to a number of very different levels, each of which is beautifully inspired, rich, and colorful. Below is a list of my five very favorites - they are not listed in any particular order, but I do consider them superior to the rest (note: secret stages and Bowser roads are ineligible - I'm only taking full-fledged worlds into consideration).

Bob-omb Battlefield: Nintendo did a phenomenal job in preparing players for everything that lie ahead by first dropping them into this large open field. It isn't exactly teeming with enemies or environmental hazards, but jumping on goombas and avoiding the giant rolling balls allows players to familiarize themselves with the controls and game mechanics. Acquiring each star on this course requires a different approach, from racing up the mountain to collecting all the red coins to launching yourself out of a cannon - all in the interest of preparation.

Lethal Lava Land: This fire level is also heavy on puzzle elements, requiring players to collect red coins above a constantly shifting puzzle floor and maintain balance as they roll giant columns. And while the surface offers all this and a few mini-boss encounters, the inside of the volcano is far more expansive than the exterior would indicate. It's like an extra level attached to Lethal Lava Land just waiting to be scaled.

Big Boo's Haunt: Creepy gothic horror in an otherwise happy atmosphere, Big Boo's Haunt is a huge deviation from the other levels. The classic haunted mansion holds a number of puzzles within, and the stronger enemies that inhabit it somewhat discourage a direct approach. While most of the rooms branching off the main foyer are rather small, there is a lot packed into each one.

Wet Dry World: One of the larger levels in the game, Wet Dry World is divided into two major sections. The first area is what you see everytime you enter - a set of switches that gradually raise the water level to allow you access to the higher brick walls and floating plaforms in the sky. But off to the side is a chain-link fence that begs to be explored. One you've managed to get over it, you find there is a sunken city. Visiting this extra area is really only necessary for collecting one of the stars, but its design is so vastly different that the rest of Wet Dry World, and yet somehow so similar.

Hazy Maze Cave: Among the largest levels in Super Mario 64 is Hazy Maze Cave, a series of trials that will test your ability to adapt to the situation at hand. Some stars are easy enough to collect, requiring simple feats like a few wall jumps. Others require a bit more time and effort, like reaching Dorrie the sea monster or finding your way through a maze of toxic gas. Few of Hazy Maze Cave's missions present you with as substantial a challenge as those found in either Tick Tock Clock or Rainbow Ride, but do require some time and patience when compared to earlier levels in the game.

Top 5 Racing Games

#5 - Mario Kart DS: Let's face it, it's kind of hard to make a list like this without bringing up at least one of the Mario Kart games. However, I am only including one of the games from this series on this list due to how critical I tend to be in my approach to each entry in the series. Mario Kart games are great fun all around, but there are some that I don't care for as much as others. I got my start on Mario Kart 64 which, great game as it is, hasn't aged quite as well as some of the more recent releases. Mario Kart Double Dash should be recognized for exploring interesting new territory but, as a whole, I felt the Gamecube one was the weakest of the bunch.

The reason that Mario Kart DS ranks as my favorite in the series is because of the tracks available. Since none of the Mario Kart games have any real story to speak of, the tracks often serve as a make-or-break deal for me. There are some really creative aesthetics coupled with nice variation in the layout of the tracks, with Luigi's Mansion, Delfino Square, Waluigi Pinball, and Tick-Tock Clock being among the most noteworthy mentions. The retro tracks are a solid bunch too, with the likes of Frappe Snowland, Banshee Boardwalk, and Yoshi Circuit rounding out the package. Not to mention that the controls are very smooth - props to Nintendo for sticking to what we already know works and not messing up the controls by trying to implement much from the touch screen.

#4 - F-Zero X: Back in the day, I used to rent as many N64 games as I could from Blockbuster, and F-Zero X was among those. I didn't rent this one as frequently as Pokémon Snap, Ocarina of Time, or even Snowboard Kids, but it stood out to me, even at a young age, for a few key reasons. First off was the over-the-top futuristic racing scenario. As a kid, I simply thought it was a cool concept. Today, I realize how much of a different racing experience it provides, with the potential for sliding around turns, knocking other racers out of your path, or even the unfortunate plummet off the track into the abyss below. Second were the track designs and racer stats. Anyone's who's played this game knows how you have to be ready for whatever the next course is about to throw at you, and this can lead to a lot of trial-and-error approaches early on. The racers proved a solid progression system. You won't have access to anything spectacular to start with, but the default racers are well-balanced and give you a chance to get a good feel for the game before you take that next step up in difficulty.

F-Zero X is a very nontraditional Nintendo game in a lot of respects. It's not gushing with mature content, by any means, but the heavy metal and techno tunes coupled with the ripped t-shirt-clad menu girls implies this is a racing game for the teens on up (both were kind of edgy back in the day). It's a challenging game - there are times when the slightest of screw-ups can send you hurtling to your death, forcing you to restart the race (as I experienced more than a few times on the pipes of Big Blue) - but that's just the way I like it.

#3 - Diddy Kong Racing: This was an easy pick for me, and not just because it was the first video game I ever owned. Diddy Kong Racing is a kart racer, and a darn good one at that. It's not the same as Mario Kart, despite the fact that both games are host to a cast of characters from across various games. Diddy Kong Racing has something of a story to it. It's by no means the greatest storytelling you can find in a video game, but the way Wizpig and adventure mode acted as the core of the experience gave me a reason to want to complete the main game.

The major worlds are host to four tracks and one mini-game each. Each world has a different theme, and the tracks explore different styles in which said themes could be approached. For example, the Renaissance-themed Dragon Forest dishes out a haunted forest, plains riddled with windmills, a castle, and a medieval village. Some tracks proved vehicle-specific, or at least more friendly toward one vehicle over another. They are not frequent, but courses that force players to use the hovercraft or the jet end up as some of the best-designed of the bunch, and can certainly help in learning to master these alternative vehicles.

The items are another highlight. As opposed to Mario Kart's greater variety, Diddy Kong racing takes to a stacking method. By collecting a single red balloon, players can fire a missile. Or, they can choose to wait and grab another red balloon to upgrade to a homing missile. It presents an element of careful strategy not always explored in kart racers. And man, do those items come in mighty handy when you're taking on any of the game's five bosses (because they're all pretty challenging).

#2 - Midnight Club II: This is a game that breathes atmosphere through every nook and cranny of its three overworld cities. From Los Angeles to Paris to Tokyo, the game presents you with a superb variety of race variants. There's the tried-and-true races against multiple AI opponents, there's the series of scattered checkpoints, and there are instances where you have to outrun the police (you are street racing illegally, after all). There's even one mission where you are the unwitting accomplice in a plot to spread bombs through the Parisian catacombs.

What makes this game so memorable is not its selection of excellently rendered automobiles, which range from the classy and sporty to the suped-up and decked out. It's not the controls which are so fluid and perfect for the PS2. All of these certainly help the overall package to reach greater heights, but the soundtrack is the definitive reason to play this game. Whether you are punching the turbo to beat your opponent to the finish line at the last minute or simply free-roaming in cruise mode, the experimental techno and hip-hop tracks from Thomas Bangalter, Felix Da Housecat, patientzero, 8-Off Agallah (to name just a few) act as the soul of the experience.

#1 - Hydro Thunder: "Three!...Two!...One! GO, GO, GO!" If F-Zero was the hyper-futuristic equvialent to a car racing game, then Hydro Thunder is essentially the same to boat racing. I can't say that I've played many boat racing games - I don't think that there are that many around, and I don't imagine there are many noteworthy mentions among the bunch. But Hydro Thunder stands out to me for a lot of reasons. On the more simplistic side of things, the game is gorgeous to look at, regardless of whether you are playing it on the N64, Dreamcast, or Arcade. It's not that the graphics look incredible by today's standards - far from it. But the whole aesthetic appeal of surreal environments of each track combined with space-age boats immediately immerses you in the experience.

Breaking down the particulars, though, Hydro Thunder requires time and patience to master. While each course has its boost locations, figuring out the best time to use them can draw a fine line between first and last place. There's also the matter of shortcuts and jumps to improve your ranking. Despite its age, the game's controls are still surprisingly fluid, and offer an experience that does well to balance the realistic elements of boat racing with the ridiculous angle of strapping rockets to the back of your machine. The different layouts of each track keep you on your toes at all times while also providing enough space for you to maneuver in the water. All in all, the game has a very arcade-style feel about it, whether you're actually playing the arcade version or one of the console releases.

25 Days of Villains - #1: Ganondorf

“My country lay within a vast desert. When the sun rose into the sky, a burning wind punished my lands, searing the world. And when the moon climbed into the dark of night, a frigid gale pierced our homes. No matter when it came the wind carried the same thing... death. But the winds that blew across the green fields of Hyrule brought something other than suffering and ruin. I coveted that wind, I suppose. It can only be called fate... That here, I would again gather the three with the crests... That I should lay my hand on that which grants the wishes of the beholder... That when power, wisdom, and courage come together, the gods would have no choice but to come down... The power of the gods… The Triforce! He who touches it will have whatever he desires granted! Already the crest of wisdom is mine. All that remains… Do not fear. I will not kill you. I merely have need of the power that dwells within you. Now! Let us put an end to that which binds us together!”

Every one hundred years, the all-female Gerudo tribe gives birth to a male who is recognized as their king. As Demise promised Link and Zelda upon his defeat at the end of Skyward Sword, there would always be an incarnation of his hatred to walk upon the Earth. That revival comes in the form of Ganondorf, king of the Gerudo, usurper of Hyrule, and (as far as I'm concerned) the single greatest villain in video game history.

In A Link to the Past, Ganon is referred to as having once been a man, before he discovered a greater power that allowed him to transform into the powerful beast. As Ocarina of Time is the first game in the timeline confirmed to follow Skyward Sword, we can only assume that to be the first appearance of Ganondorf. As he makes clear to Link, Ganondorf intends to overthrow the king of Hyrule and command the power of the Triforce as his own. When Link removes the Master Sword from its pedestal in the Temple of Time, he opens the Sacred Realm, which allows Ganondorf to steal the Triforce of Power. He then uses it to reshape the kingdom as he sees fit.

During the seven years that followed, Link spent his time asleep in the Sacred Realm, while Zelda evaded Ganondorf’s grasp by taking on the guise of Sheik. Link eventually helped all six of the sages awaken, and they in turn helped him to forge a path to Hyrule castle, but not before Zelda revealed her true identity and was captured by Ganondorf. The only one capable of stopping Ganondorf, Link proceeded to his castle and ascended to find Ganondorf waiting for him. With all three pieces of the Triforce in one place, Ganondorf intended to kill Link, his only remaining opponent, and claim the Triforce of Courage.

Reflecting his own dark magic back at him, Link was able to defeat Ganondorf, but the Gerudo King used the Triforce of Power to transform himself into the beast Ganon. While Link lost his advantage temporarily, he was able to retrieve the Master Sword and, with the help of the sages, sealed Ganondorf away.

There are a number of theories regarding how the Legend of Zelda timeline progresses. For the sake of avoiding debate, I will simply be covering Ganondorf’s actions in the other two titles he appeared. In Twilight Princess, Ganondorf was recognized as a threat to the kingdom and the sages attempted to execute him. They soon realized the extent of his power, however, as a blade to the chest did little harm. Ganondorf killed the sage of water, and – seeing the severity of the situation – the other sages sealed him away in the Twilight Realm.

Once there, Ganondorf took advantage of Zant, leading him to believe that he was some kind of a God. He granted Zant some of his powers – enough to travel to Hyrule and shroud portions of it in Twilight, but nothing comparable to the strength of the Gerudo King himself. After Zant’s defeat, Link and Midna stormed Hyrule Castle to find Ganondorf had assumed the throne. Eventually they were able to free Zelda from his control, and Link killed him, driving the Master Sword through his preexisting wound.

In The Wind Waker, the same Ganondorf Link sealed away in Ocarina of Time has found a way out of the Sacred Realm. When he planned a second conquest of Hyrule, there was no hero to stop him, and so the Goddesses flooded the realm, creating the Great Ocean. Hundreds of years later, there are but a few who remain that know even a little about Hyrule, one of them being the King of Red Lions, talking boat and travelling companion of this era's Link. While the two set out to face the challenges of the tower of the Gods and retrieve the pieces of the shattered Triforce of Courage, Ganondorf has already sent his minions forth to kill the last two remaining sages, Laruto and Fado. He's also gathered quite a collection of young girls with pointed ears, hoping that one of them might be the descendant of Princess Zelda.

Around the midway point of his journeys, Link finds the Master Sword beneath Hyrule Castle. But the blade of evil's bane has lost all its power, forcing Link to tackle two more dungeons to return it to its former glory. At the same time, most of Ganondorf's power was sealed beneath the pedestal of the Master Sword. With it removed, Ganondorf is once again able to assume his Ganon form, as well as his superhuman strength. When Link ventures to his tower to face him, Ganondorf already has Tetra/Zelda, and makes quick work of Link, beating him until he is nearly unconscious. The three pieces of the Triforce resonate, and Ganondorf relays his wishes to the Goddess.

Unfortunately for him, the King of Red Lions (aka the King of Hyrule) intervenes, touching the Triforce first and bringing his own wish to wash away Hyrule to fruition. Outraged, Ganondorf then faces Link and Tetra one final time, intent on taking them down with him as the ocean floods in all around. Link ultimately prevails, with help from Tetra's carefully-aimed light arrows, and drives the Master Sword into Ganondorf's skull.

In Ocarina of Time, Ganondorf is at his most malicious, sending forth every imaginable enemy to hinder Link's progress and attempting to kill the Deku Tree, Jabu Jabu, the Gorons, and the Zoras. His hatred and anger are displayed quite prominently as well, through his rage after his castle collapses. In Twilight Princess, he takes on the role of puppeteer, hoping it will be too late for the people of Hyrule by the time they realize Zant is not the true threat. And in The Wind Waker, Ganondorf shows maturation since his time in the Sacred Realm. His plan is much more carefully laid out, and he nearly succeeds. When it's all said and done, though, Ganondorf is still as vengeful as ever, throwing everything he has at Link and Zelda. Despite how many times Link defeats him, Ganondorf and Ganon will continue to return, just as Demise said he would, bringing pure hatred wherever he goes. There aren't many video game villains that can be both as iconic and as enduring as Ganondorf. And those are the reasons he ranks as the greatest villain of all time.

Boss Themes:

I have two favorite themes for Ganondorf. The first is from Ocarina of Time, when Link parries magic spheres back at him. The second is the sword duel with Ganondorf at the end of The Wind Waker, and both of these easily fall among the most atmospheric and epic final boss battles I have ever played through in any video game.

25 Days of Villains - #10: Majora

Chaos incarnate, Majora is the reason everything turns out so terrible for the inhabitants of Termina. True, Skull Kid takes the initiative to steal the mask. But as the game indicates, Majora was affecting Skull Kid's thoughts and actions - by the end of the game, Majora tosses Skull Kid aside, feeling that his usefulness is over.

Most of Majora's acts of malice come into play before Link arrives in Termina. With Skull Kid as a medium, Majora directs its power to cause harm to the different races - poison in the Deku Scrubs' swamp, freezing some of the Gorons alive. Majora's actions even lead to the deaths of Darmani and Mikau, two of the realms most accomplished warriors. And as a grand finale, the mad mask wants to crash the moon into the world below.

Majora is certainly evil. Both his dialogue and actions late in the game indicate that the demonic entity views everything as a kind of game. Because of this, he lashes out when backed into a corner. Though the final boss fight is one of the most difficult in any Zelda title to date, Majora seems really uncoordinated - almost childish. While Majora channels chaos like no other, logic and planning are sacrificed at this expense, which is why this villain ranks at number eleven.

Boss theme:

The final boss fight against Majora is divided into three sections, each with its own variation on the same theme. My personal favorite theme of the three is that of Majora's Incarnation, since itserves as a great reflection of his chaotic nature. Majora's Wrath's theme carries the most sinister and dark tone, however.

25 Days of Villains - #14: Bowser

For this Koopa King, I'm thinking first and foremost of his appearance in Super Mario 64. I don't mean to discredit all of his attempts to capture Princess Peach beforehand, but this was easily his most menacing appearance in all the Mario games. I am however, ruling out Super Mario Sunshine because Bowser Jr. did most of the work there.

Super Mario 64 begins with Princess Peach sending Mario an invitation to the castle. When Mario arrives, he notices almost immediately that something is amiss. A trek through Bob-omb Battlefield and a few other early stages lead to the first confrontation with Bowser, who reveals that he is holding Peach as his prisoner.

Each of Bowser's boss battles presented a different approach. The first was rather straightforward, with the arena being relatively small, the explosive spike balls sizeable, and King Bowser giving Mario plenty of openings to grab his tail. The second battle threw a tilting platform into the mix, with lava waiting below. The third required Mario to throw Bowser at the spike balls three times, with the stage shrinking halfway through the fight. Through this progression of boss fights cam the requirement to better gauge the speed, distance, and direction Bowser's body would fly off at once Mario released him, adding another layer of complexity to the fight.

But what was perhaps the most exciting element of each Bowser boss fight were the mini-stages that preceded each. The first focused on moving platforms and electric enemies - nothing too terribly difficult, but a nice combination of platforming and sneaking. The fire world stage required careful timing, lest Mario fall into the lava below as platforms would rise and sink. And the final stage was brutal and unforgiving, with gusts that could send the hero plumber flying to his doom. Oh yeah, and before Mario can even access the third boss fight, Bowser makes it so that he has to have seventy stars, otherwise he can run forever without making any headway.

In recent games like Super Paper Mario, Bowser has taken on the role of a hero and ally to Mario. I am by no means labeling these newer releases as 'poor' or 'bad' - Mario is still an excellent series. But it doesn't do well for the series' main baddie to be turning over a new leaf, which is why Bowser lands himself at spot number fourteen.

Boss theme:

This one is a classic. I've loved the rock style to this boss theme ever since I was a little kid.

25 Days of Villains - #22: Andross

A floating head and pair of hands that managed to muster enough forces to conquer almost the entire Lylat system, Andross certainly knows how to get a job done. Unfortunately for him, his commanders are apparently completely incapable of fending off Team Star Fox as the anthropomorphic animals blaze a trail toward planet Venom. But that's really not Andross' fault, now is it?

Andross' ability to rally so many to his cause and in turn conquer the majority of the Lylat system displays his highly-regarded intellect. Though we don't actually visit each planet until after Andross has taken control, the fact that he has spread his troops out in such strategic armadas and varied attack patterns shows that he is prepared for a number of scenarios should anyone choose to retaliate against his regime.

I'm not too familiar with Andross' appearance on the original SNES Star Fox - most of my memories of him come from the N64 sequel. I know he was also a boss in Star Fox Adventures, a game that I never completed due to the way its gameplay and story left a poor taste with me. Frankly, I would have placed ol' monkey face higher on this list if he had appeared as a boss in Star Fox Assault, which was a beautifully-rendered and incredibly fun game, despite the shift to a linear storyline. His nephew Andrew Oikonny pays tribute to him with his own monkey mecha, but as far as I'm concerned, the final confrontation at the end of Star Fox 64 is simply classic.

Boss theme:
Compared to some of the other villains on this top twenty-five list, Andross' theme isn't quite as exciting or memorable. It does convey the dark nature of Venom well, though.

N64 review: The Legend of Zelda: Majora's Mask

I played Majora's Mask way back when it was first released for the Nintendo 64, though I never owned a copy and instead played it on a friend's console. I became familiar with the story and setting, but I never tackled the dungeons in the proper order. Then, about a year ago, I found a Majora's Mask cartridge at a local game store, and figured that my appreciation for Zelda would be incomplete without having played all of the games in the series (there are currently still four other Zelda titles I have yet to finish, but that's a story for another day).

If I could sum up Majora's Mask in a few words, they would have to be 'surprisingly dark' and 'rather bizarre'. Following the conclusion of Ocarina of Time, Link takes off to find his fairy friend Navi. While travelling through a forest, Link's horse Epona is stolen by Skull Kid. Link gives chase, but is cursed by Skull Kid to bear the form of a Deku Scrub. Eventually making his way to Clock Town, Link discovers he is now in a land known as Termina, a sort of alternate-dimension take on Hyrule. Link finds that the Happy Mask salesman has also fallen victim to Skull Kid's antics, as a very powerful mask - Majora's Mask - was stolen from him. He promises to help Link return to his original state, so long as Link can retrieve his Ocarina from Skull Kid and see to the safe return of Majora's Mask.

The world of Termina is set up in a wheel-and-spokes layout, with Clock Town situated at the center and each subsequent region and temple branching off in a different direction (North, East, South, and West). This provides a convenient starting point each time players save the game. Clock Town is also where players will spend time tackling the majority of the sidequests, and plays host to some of the minigames. Each of the temples must be tackled in a specific order, though players are free to explore the separate regions of Termina at their leisure, assuming they have the necessary items to gain access. Players can also activate owl statues that serve a dual purpose. They can be used to save the game - though players must quit playing in order to do so - or they can be used as warp points for fast travel.


The most notable difference from other Zelda titles is the three day cycle/time limit. Players have only 72 hours in game time (which translates to about twenty minutes per day in real time) to complete the necessary tasks of collecting items, masks, and tackling dungeons. More often than not, players can complete the tasks preceding a temple, return to dawn of the first day, and then continue on to complete the temple itself. Afterwards, they can return to dawn of the first day again, repeating the cycle for each subsequent area and temple. Because of this, players will need to determine their plan of attack before they trek through Termina's various locales. For those who would prefer more time to complete things - say, events prior to a temple, the temple itself, and a side quest or two thereafter - the Inverted Song of Time can prove an invaluable asset. On the flipside, players will have to set aside more time to complete all this, and may prove a drawback for more casual gamers.

While designed with many of the basic gameplay elements introduced in Ocarina of Time, Majora's Mask does well to set itself apart from its predecessor. The intuitive item management system is retained, though the use of transformation masks offers a small variety of combat and travel abilities on top of those already offered through Link's arsenal. Players will have to find new bombs and arrows each time they play the Song of Time, but can be deposit Rupees into Clock Town's bank without running the risk of losing any of Link's hard-earned cash. While Majora's Mask has relatively few temples when compared to other installments in the franchise, the pre-temple and post-temple events add on more than enough to flesh out the experience. The game also presents a solid number of mini-boss fights - in some cases, two or three in a single temple, while the five major boss fights are overall more challenging than those present in Ocarina of Time.


This game will be a real treat for completionists, with far more sidequests than in Ocarina of Time - some of which will prove very challenging, while others are simply time-consuming. Those who choose to pursue the sidequests will encounter many familiar faces - Termina's counterparts of Hyrule's citizens. Most of these characters feel more fleshed out than in the previous title, even if their involvement is still rather minor in the grand scheme of things.

When it all boils down to it, there are far fewer major characters in Majora's Mask - Link and Skull Kid are the primary protagonist and antagonist respectively. But with no one filling the shoes of Zelda, Shiek, or the Sages this time around, the only other character with a major stake in the mask is the Happy Mask Salesman. For those who played through Ocarina of Time and met all of the various minor characters, this should feel like the obvious next step in developing them. For those jumping into Majora's Mask without having played Ocarina of Time, this likely won't resonate in a particularly strong manner.

The graphics aren't a huge step up from Ocarina of Time, though some of the textures and minor environmental details are improved upon. Most of the different areas of Termina stand out as being more colorful than the locales in Hyrule were. The soundtrack presents plenty of variety in style, but does an excellent job of maintaining the eerie, almost haunting, mood of the game. As stated above, most of the characters in Termina are intended to be some alternate universe counterpart to the cast of Ocarina of Time, and this is primarily due to the reuse of character models. That said, the new characters that are introduced in Majora's Mask - and there are quite a few of them - are welcome additions to the Zelda universe.


It's a dark game, no doubt. Some might even go far as to call it 'a bit twisted'. But there's no denying how artistically driven Majora's Mask is. It has some of the best storytelling in the series. Though it may not be as wildly revolutionary as its prequel, it's a brilliant follow-up to Ocarina of Time, which - in all honesty - is a very hard act to follow. It's also one of the most challenging Zelda titles to date, and while I would usually encourage players to figure things out on their own, a guide will probably come in handy for your first playthrough.

My rating: 10 (out of 10)

25 Days of Christmas - #1: The Legend of Zelda: Ocarina of Time

Although every single one of the games on this list is great in its own right, there is one that stands above the rest as my favorite video game of all time. It was released in 1998, a year that revolutionized the gaming industry. 3D graphics were still fresh and developers were experimenting with all sorts of new mechanics and modes of play. Amidst some of the best titles of the day, including Metal Gear Solid, Resident Evil, Banjo-Kazooie, and StarCraft, there was a sequel released by Nintendo that redefined the series, as well as adventure gaming, forever. The Legend of Zelda: Ocarina of Time was a far cry from previous entries in the acclaimed series, but ended up selling over 800,000 copies in its first year.

I have been an avid fan of the Zelda series for years (it is the only series to have three entries that made this top 25 list), but Ocarina of Time is easily the best. The story is superb and takes a much darker look into the traditional Zelda story. Players are once again pitted against Ganon in his attempt to conquer Hyrule, but this time around he is disguised as a young Gerudo warrior named Ganondorf. He manages to convince the King of Hyrule into trusting him, a move which proves fatal for the entire country.

Link is initially introduced to players as a young Kokiri who is sent by the Deku Tree to meet with Princess Zelda in order to try and foil Ganondorf’s evil intent. Zelda sends Link out on a quest to retrieve the three spiritual stones, which will in turn unlock the door of time. Link, already granted one of the spiritual stones by the Deku Tree, heads of to seek the aid of the Goron and Zora people in collecting the remaining two. While the dungeons are the main focus of this entire section of the game, the characters Link encounters and the events he takes part in become crucial to the plot later on.


Upon returning to Hyrule with the spiritual stones, Link finds that Ganondorf has run Princess Zelda and her aide Impa out of Castle Town. Link then completes Zelda’s wish in opening the door of time to attempt to undo Ganondorf’s evil, but things go awry as Ganondorf uses the door of time to create his own monster-ridden version of Hyrule. Link awakens seven years later and is approached by the sages of Hyrule who present Link with a way to stop Ganondorf once and for all.

During Link’s time as a child, players will travel to three major dungeons: the Deku Tree interior, Dodongo’s Cavern, and Jabu-Jabu’s belly. These serve as a lengthy introduction to the game mechanics and story, but present a good level of challenge in their own right. Jabu-Jabu’s belly is primarily centered around solving puzzles, but the enemies Link encounters therein are incredibly unforgiving and do an excellent job of bridging the gap to the adult dungeons, preparing players for what lies ahead.

The major temples during the adult storyline are associated with a different element and tribe of people in Hyrule. Each of the sages Link encounters are characters from his past, and will reward him with a medallion of each element upon defeat of each temple boss. The Forest Temple is a bit of a mind trip upon first entry, and will force players to look at puzzles in a few different lights. The Fire Temple is heavily focused on fine-tuning Link’s combat skills and is one of the larger temples in the game. The Water Temple and Shadow Temple make excellent use of Link’s secondary weapons, while the Spirit Temple forces players to navigate its massive interior twice over – once as a child, and again as an adult.


Aside from the main dungeons, there are sub-missions critical to the story that Link must complete in order to progress the story further. Players can also collect more items, ammo, and weapons by competing in minigames like Bombchu bowling, and completing sidequests for characters such as the Happy Mask salesman and Malon of Lon Lon Ranch. Players can rescue the wild horse Epona from greedy Ingo. While riding horseback from place to place is not a core part of the gameplay, it does flow smoothly and saves players a lot of travel time.

Each secondary weapon is brilliantly designed, and despite the fact that there are so many, each is unique and has its own purpose. As a child, Link will rely heavily on his slingshot for distanced attacks, Deku Nuts for stunning nearby enemies, and the boomerang for both stunning faraway enemies and retrieving items from a distance. Adult Link, on the other hand, is much more equipped for combat with the Megaton Hammer and bow, but can also access different areas and solve puzzles with bombs and the Hookshot. His tunic can be changed to accommodate for extremely hot temperatures and breathing underwater. Likewise, Link has hover boots which allow him to temporarily hover over gaps and iron boots which weigh him down in order to scour lakebeds and portions of the Water Temple.


But the most significant tool used in the game is, of course, the Ocarina of Time itself. As Link progresses through the game, he learns various new songs that can grant him access to select areas, alter time from night to day and vice-versa, cause rain to fall, and allow him to warp to different temple entrances. To play these songs, players must hit different combinations of the C-buttons and A-button.

The boss fights in Ocarina of Time are nothing shy of epic. Morpha will lash out with tentacle-like appendages and trash Link about the room before flinging him into a wall and draining nearly half his health. Ghoma will crawl about the walls and pillars deep within the dark interior of the Deku Tree, and players must use the slingshot in order to bring the spider-like beast down to the ground level to deal any damage to the monster. The battle against Twinrova will force players to constantly watch their backs, as Kotake and Koume circle Link, throwing blasts of Fire and Ice at him. The final battle against Ganondorf/Ganon will take the most challenging elements of all these previous battles and pool them together, creating a truly fantastic finale.


The soundtrack, while comprised of MIDI files, is memorable and fits the game like a glove. From the Song of Storms to the theme of the Lost Woods, the soundtrack completes the experience, immersing players in the world of Hyrule. The Legend of Zelda: The Ocarina of Time has been heralded by many gamers as not only the best Nintendo title released, but the greatest video game of all time. And while I do believe that every game on this list is brilliant in more than one way, Ocarina of Time reigns as my single favorite video game of all time.

25 Days of Christmas - #9: Banjo-Kazooie

During the heyday of the N64, there were two companies constantly releasing games that revolutionized the industry and put other developers to shame. The first, understandably, was parent company Nintendo. The second, however, was Rare, developer of titles such as Diddy Kong Racing, Perfect Dark, and - one of the more controversial games of the time – Conker’s Bad Fur Day. Rare is a company that has managed to release a successful game in almost every genre. Perhaps their most critically acclaimed title, however, was adventure/platformer Banjo-Kazooie.

Banjo-Kazooie put players in control of two unlikely heroes who must stop the evil witch Gruntilda, who has kidnapped Banjo’s sister Tooty. The story sets up to be rather basic, but the characters take this in a comedic light and poke fun at the game and themselves constantly. Nearly every remark Kazooie makes is sarcastic, and she is constantly countered by her more serious partner Banjo. The personalities of these two characters play off each other brilliantly. Gruntilda constantly speaks in rhyme, each statement more cheesy than the next. But the best aspect of the game is that the story is satirical, and the characters aren’t meant to be taken completely serious.

The gameplay is fluid and rather creative. Moving around the world as the pair is as simple as pushing the control stick in any direction. The camera angle changes appropriately for specific situations, but is never an annoyance. Each level has multiple tasks to complete, including collecting music notes, jiggy pieces, and boss fights.

Occasionally Banjo and Kazooie will find themselves at an impasse due to terrain or enemies and require assistance from the shaman Mumbo Jumbo. He will ask the two to complete a task for him within the confines of that particular level. Upon completion of said task, Mumbo will use his magic to aid Banjo and Kazooie in their quest, often temporarily transforming them into another animal such as a termite or a walrus.

In a similar role as Mumbo is Bottles the mole. Bottles is encountered several times during the game and will teach Banjo and Kazooie a new move each time. Despite the help from Bottles, Kazooie seems only interested in making fun of him, calling him names like “goggle boy”, “squinty”, and “root muncher”.

The game is a decent length for the time of its release. There are a few areas that can be frustrating and seem more complex than necessary, but these are few and far between. Each level is designed differently and things don’t feel repetitive. Each level also increases in difficulty at a fairly consistent rate, so players can get their feet wet before plunging into the really challenging parts. The art style is cartoony, but fits the game’s mood perfectly. The game flows incredibly smoothly and load times are nonexistent. Although sequel Banjo-Tooie was more commercially successful than the first game, Banjo-Kazooie is the foundation upon which many platform games from various developers would build in later years. Banjo-Kazooie is easily my favorite game from Rare, as well as one of my favorite N64 titles.

25 Days of Christmas - #12: Star Wars: Rogue Squadron

Over the years, there have been countless Star Wars games. They span across virtually every system, and most of these titles are centered around allowing the player to wield lightsabers and use the force. And while the jedi way is certainly a core aspect of Star Wars, there are many other stories that make up the universe that George Lucas created. One of the most famous groups in the Galactic Civil War is the Rebel Alliance’s ace pilots that make up Rogue Squadron.

Star Wars: Rogue Squadron was released in 1998 for the PC and N64. The N64 game is the version I own, and I must say it is one of the most fluid and intuitive flight games ever released on any system. While Star Wars: X-Wing and Tie Fighter paved the way for space-bound dogfights, Rogue Squadron perfected them. Using different trigger combinations to pull off barrel rolls and arcs made maneuverability easy. Players were given a great deal of freedom in how they wished to deal with enemy fighters and turrets, but were also required to be wary of their secondary ammo supply.

The story follows Luke Skywalker and Wedge Antilles, the two most prominent members of the squadron, as they carry out various mission set in-between the films of Episodes IV, V, and VI. Other members of the squadron make appearances as well, including Wes Janson, Hobbie Klivian, and Zev Senesca. General Reikan provides briefings of each mission, and will reprimand players if things start to go sour. Each of the respective voice actors did a brilliant job in making these characters come to life. No single character in the game feels bland or one-dimensional.

Early missions have Luke and Wedge doing routine flight patrols and then encountering and subsequently destroying Imperial forces. These early missions are set up as tutorials, and aren’t meant to be anything special. But once Moff Seerdon (the main antagonist of the game) comes into the picture, the story really picks up in pace. Each mission is set on a different planet (with the only exception being two missions taking place on Kessel), and each is unique in design and mission objectives. On Gerard V, players must defend a city as the most skilled TIE Interceptor squadron - led by Kasan Moor - takes on the Rebels. On Chorax, players must navigate foggy canyons in search of the Nonah, a ship that crashed on the planet. On Fest, the Rebels must take down a shield and destroy AT-AT walkers as they attempt to free prisoners.

The soundtrack is classic Star Wars, strongly influenced by the original trilogy. Still, it adds a little flair of its own and sets itself aside as a separate soundtrack. The graphical capabilities of the N64 really shine in this game. The lighting effects are top-notch, and players will notice how the shadows move seamlessly as their X-Wing tilts towards or away from light. Engine exhaust flares up as the boost is activated, and blaster fire spreads outwards slightly as it makes contact with a target.

The variety of ships available to pilot is impressive, and includes not only classics like the X-Wing, Y-Wing, and A-Wing, but includes the V-Wing, a ship that is used more heavily in the post-Imperial years. The Millennium Falcon and a TIE Interceptor are unlockable as players meet certain achievements in missions. The inclusion of a cheat code system allows players to unlock the N-1 Naboo Starfighter, a 1969 Buick Electra, and even a minigame that puts players in control of an AT-ST “chicken” walker. Extra missions could also be unlocked, including the classic battles of Hoth and the Death Star trench run. Other extras include a theater mode in which players can view the various cutscenes in the game, and a music hall wherein players can listen to any given song from the soundtrack.


Star Wars: Rogue Squadron allowed players to step into the cockpit of an X-Wing and take on Imperial forces in an engaging and challenging way. The game covers some key moments for the Rebel Alliance not covered in the films, including the retrieval of Crix Madine on Corellia and the defection of ace pilot Kasan Moor. The game encompasses a large timespan, but still leaves enough material to be covered in two sequel games. Rogue Squadron pushed the capabilities of the N64 to the limit and was a fantastic achievement for parent company Factor 5.

25 Days of Christmas - #20: Super Mario 64

3-D gaming was a major leap for the industry, and led many games to change their design altogether. The fact that the world was no longer limited to side-scrolling or a top-down view opened a door of almost limitless possibility. Even so, some were skeptical at first, fearing that some of their favorite titles would undergo too drastic of changes to the point of being ruined. Super Mario 64, while vastly different than any previous Mario title, made huge waves with its design.

The story is pretty much the same as any previous (and future) Mario games: Princess Peach is kidnapped by Bowser (or King Koopa, as some old school gamers know him) and Mario must pass through various levels to rescue her. Super Mario 64 was host a huge number of levels, each radically different in its design. Some, such as Lethal Lava Land and Dry Dry Desert held separate sublevels within the main level. Wet-Dry World forced players to use different locks to raise the water level, allowing them to access certain areas. Tiny-Huge Island made players shrink to enter certain areas and grow to access others. Hidden around the castle were mini-levels that allowed the player to acquire new power-up hats and hidden stars. Each boss fight against Bowser even had a level preceding it, which were often some of the more challenging levels in the game.



The star system not only upped the replay value, but also forced the player to look at the core gameplay from several perspectives. At its most basic form, Super Mario 64 is about beating the respective boss of each world in order to advance towards the final fight against Bowser. Players collect stars from various challenges as they go. But collecting eight red coins, racing Koopa the Quick, and keeping trekking through a poisonous gas-filled maze to retrieve other stars made each play through a level feel unique.

The graphical capabilities were really pushed to the limit for the time of the game's release. While the soundtrack is comprised largely of variations on songs from previous games, new inclusions like the Metal Mario theme were catchy and memorable, even if they weren’t very musically complex.

Super Mario 64 is both one of the most critically acclaimed and commercially successful games of the late 1990s, and played a pivotal role in the push for 3-D gaming. Allowing players to choose which way to meet the star requirements made the game accessible to a larger audience, while its free-roam style set the bar high for the competition.

25 Days of Christmas - #24: Star Fox 64

Peppy Hare’s simple instructions of “Do a barrel roll!” were never meant to offer anything more than the occasional helpful hint to Fox McCloud. Yet somehow this single phrase has endured through the years as something of gaming legend. As goofy as the one-liners may have been, Star Fox 64 still stands strong as one of the most popular N64 titles ever to grace the system.

Star Fox 64 put players in an arcade-style setup, firing from their Arwing starfighter in a third-person perspective. They were granted laser power-ups and greater shielding from small items scattered around each level (sometimes granted from destroying a set number of enemies). Most enemies would count for a single point each when shot down, though boss fights would grant higher numbers depending on the time it took to defeat them and the damage you as a player sustained during said fight.

The map of the Lylat system gave players the opportunity to forge their own path to Venom. Some areas, such as Aquas, required a set number of points to reach. Others, such as Area 6, required the player to complete objectives like protecting the Great Fox from missiles in Sector X or shooting all the train track switches on Macbeth. This coupled with the fact that some levels were meant to be significantly more challenging than others allowed players to make each play through different.



Though the cast was rather small, the characters are distinct and memorable. Fox, being the most level-headed, tries to keep his team unified. Falco, though he often has a smarmy remark, is an ace pilot and can usually take care of himself. Slippy, despite being possibly the worst pilot ever, is always optimistic and looks up to the rest of team Star Fox. And Peppy, the eldest and most experienced member, acts as a guide now and then, offering short statements like: “Try hovering!” “Follow your father’s example Fox!” and “Use bombs wisely!” Even the rival team of Star Wolf and minor characters like Bill and Katt have such strong personalities that become ingrained in the player’s mind.

While the bulk of the game takes place from the cockpit of an Arwing starfighter, players are granted use of the Landmaster tank and the Blue Marine submarine on multiple occasions. Although the multiplayer felt tacked on at the last minute, it still flowed smoothly and offered four player fights in both the Arwing and the Landmaster. The inclusion of the then-new rumble pack let players feel vibrations from the controller when hit with laser fire, making the overall experience more engaging. Star Fox 64 offered some of the most addictive arcade-style gaming in years, and the replay value shines through greatly because of it.

25 Days of Christmas - #25: Diddy Kong Racing

For the Christmas season, I felt I would offer my own 25 days of Christmas. Each day from now until December 25, I will post my 25 favorite games of all time. These are not necessarily the most successful games in either sales or critical reception; they are simply my favorite games from over the years. Without further ado, the first game on my list:

Largely overshadowed by Mario Kart 64, Rare’s cartoon racer surpassed Nintendo’s in many regards. The number of racetracks available was greater and the weapons less centered around a single character’s franchise. With characters drawn from other Rare games including Conker (before his Mature-rated days) and Banjo (sans Kazooie), Diddy Kong Racing was host to a particularly colorful cast. As was the case with most racing games of the day, each character had his or her own unique attributes that changed the way they handled on the race track. Heavier characters like Krunch could handle sharp turns better, while those more lightweight like Tiptup had much better acceleration.

Diddy Kong Racing allowed players to drive the traditional go-kart, but also provided the option of a prop plane and a hover boat. Each vehicle, though they altered the gameplay significantly, flowed smoothly and felt balanced. The item balloons even altered slightly to fit the vehicles appropriately, such as the oil spill becoming a gas cloud when using the plane.

The sheer number of tracks available in the game was certainly impressive. Each world was home to four main racetracks and one boss race. Initially, there were four major worlds to be found, and requiring a set number of golden balloons to access. But after defeating the main boss Wizpig, the game offered a fifth world to those who had earned gold rankings on all of the trophy races. Another four levels and one final showdown with Wizpig made the finale of the game triumphant.



Diddy Kong Racing offered multiple modes of gameplay to up the replay value. Not to say that the main game was short, but the added modes certainly didn’t hurt the finished product. Within the main single-player story there was both the traditional race which challenged the racer to aim for one of the top three spots as well as another mode that added on a search for silver coins while still aiming for the top three. A time attack mode was offered in both the main story and free play modes, and players could store their times on an N64 memory card to later challenge their times in a ‘ghost race’. Trophy races put racers in the four races of each world and kept an overall placement that would go up or down as the each course was completed. There was even a multiplayer battle mode that was different for each world, varying from a hoard-the-eggs minigame and a more traditional battle mode.

Considering this was the first video game I ever owned, I can’t even begin to imagine the hours I must have poured into this game. I still maintain to this day that beating Wizpig the first time was the single most challenging moment for me in gaming.

Shoot 'em full of lead

I’d like to do something a little different for this post and focus on a broader spectrum than the specifics of a single game or series. This particular topic has been bugging me since about the midway point of last generation’s consoles. First-person shooters have been rising in ridiculous numbers over the past five or six years. A large part of this surge was initially due to the big three companies feeling the pressure of online gaming (or in Nintendo’s case, the lack thereof). And while games like Goldeneye 007 and Perfect Dark have stood the test of time, there are plenty of others in the FPS genre that will be forgotten in a sea of mediocre games.

When I take to a game, my overall impressions are based on three major factors: originality, story, and game mechanics. Obviously not every game has to be original to become popular. Perfect Dark was essentially a re-skin of Goldeneye 007 with a new story and weapons. But that didn’t stop it from becoming one of the more popular N64 games. That said, both those games were released in the late 1990s, during the heyday of 3D gaming. During that time, most FPS titles were still popular in arcades with laser-response gun controllers to boot. Getting back on track, both Perfect Dark and Goldeneye 007 had easy control schemes and almost never dropped frame rate. Perfect Dark obviously had the more creative and original story, as Goldeneye 007 was heavily based on the subsequent film, but that didn’t stop gamers from flocking to either N64 title to get their shooter fix.

During the last generation of consoles, the Gamecube was left lagging quite a ways behind in sales and critical reception. And while the Playstation 2 arguably won that generation of console wars, the Xbox gave the PS2 a run for its money with its more successful online gaming. The success of the Xbox was due in no small part to its flagship game Halo and sequel Halo 2. Halo was one of many FPS games that would shape Microsoft’s gaming market to make it more accessible to casual gamers. Is Halo a casual game itself? It’s difficult to classify. On normal difficulty, almost anyone can kick ass as the Master Chief. But turn it up to legendary difficulty and the game is almost definitely hardcore status. It’s unfortunate, however, that the three main Halo games don’t include a longer campaign. Bungie realized that they can basically sell the games on their multiplayer alone, but I feel that they could do a lot more with the story for those who haven’t read the novels.

Halo may have been the single most important game in relaunching the FPS genre. Games like Call of Duty and Medal of Honor were given a new lease on life and sold like hotcakes. Today it seems like there is a new FPS being announced or released almost every week. And while the Halo franchise does deserve kudos for having a strong story and a very unique arsenal, there are few other FPS games from the two most recent console generations that can come close to comparison. Call of Duty certainly has a good variety of weapons, but with the exception of Modern Warfare, the story is always a rehash of the previous game. Multiplayer is mediocre at best, and the controls are clunky (I know they want to be realistic with the weapons, but having the sniper scope fling all about gets annoying pretty damn fast). Certainly some improvements were made with Modern Warfare, particularly with the multiplayer. But the campaign was even shorter than that of Halo 3, and the story not even half as engaging.

The worst part about all this is that Call of Duty and Halo are at the top of the FPS pyramid. Medal of Honor has since been left in the dust, regardless of the fact that its games were almost the exact same as Call of Duty’s. The Conduit had both a decent story and game mechanics, but didn't really stand out as a must-have for Wii owners. And then of course there are games like Haze which promise the greatest shooter experience ever and end up being a giant pile of crap. As creative as the weapons in Resistance: Fall of Man are, the story and characters are forgettable. Killzone has decent mechanics and an okay story, but the characters are rather one-dimensional. It seems that few companies want to put forth the effort of releasing a shooter that combines fluid controls with a good story. Do I think it’s impossible? Certainly not – it happened over a decade ago, multiple times. But considering the current state of the industry, I wouldn’t bank on seeing another truly engaging FPS for some years to come. In fact, you’re better off playing adventure-shooter crossovers like Metroid Prime 3: Corruption or Bioshock for an excellent FPS experience.