Wii U review: Splatoon

Each time you boot up Splatoon, the celebrity Squid Sisters of the game’s fictional realm will list off the maps currently in rotation for both ranked and unranked playlists, capping their announcement with warm wishes that every inkling girl and boy “stay fresh!” And that is exactly what Splatoon brings to the table – a fresh hybrid of third-person shooter combat, sandwiching platform and action elements between its other major design point of painting the stage in neon ink colors. At its core, Splatoon is a team-oriented shooter where the objective is not so much offing enemy team members, rather attempting to cover as much of the map as possible in your team’s respective color. With perhaps a slight hint of Super Mario Sunshine playing into Splatoon’s inspiration, and certainly more than a small dose of Jet Set Radio, this spunky, upbeat I.P. is a welcome addition to the Wii U, as well as to the online gaming community for the way it manages to shake up so many staples of the shooter genre with simple tweaks.

The novelty of all this, of course, would wear thin rather quickly if the game suffered from lag or connection issues. While this was certainly a fully merited concern prior to the game’s release given Nintendo’s often less-than-stellar performance of online components of Wii titles like Super Smash Bros. Brawl, Splatoon has – against all expectations – the best connection record of any multiplayer online game I’ve ever managed to get my hands on. The two or three times I encountered any form of lag were during the first weeks following Splatoon’s launch, and they were marginal, at worst, lasting only a brief few seconds. Occasionally, the game will be unable to connect to matches during server maintenance periods, but these roadblocks are short-lived and only to be expected. And the frequency with which new, free content such as additional maps, weapons, and game modes are trickled into the mix is more than sufficient compensation for these segments of downtime.

Painting the town orange or purple or lime green or whatever your team’s assigned color is remains a constant across the entire experience, though ranked matches do introduce both ‘king of the hill’ and ‘capture the flag’ variants in the forms of Splatzones and Tower Control, with more game modes on the way. Single player has players navigate short but increasingly creative and visually appealing stages as they battle enemy Octolings in order to rescue captured cute and yellow Zapfish. This story mode does not boast the most complex narrative, nor does it last more than a few hours, but the sheer variety of environment designs, thoughtful strategies regarding boss battles, and overall fun factor make it worth diving into. A one-on-one local multiplayer mode is also included, wherein players compete to pop balloons for the most points, but is significantly less meaty and also less enjoyable than the other main modes.

Splatoon does have a couple of significant drawbacks, however. The single player mode, while short and sweet, offers up blueprints for new weapons for those who do a little bit of exploration. The Amiibo functionality for this game works the same way, offering remixed versions of select single player stages with different weapons loadouts, and rewarding players with some of the game’s coolest costumes as well as a couple of extra armament options. However, if you did not purchase these Splatoon Amiibo, you are fresh out of luck, unless Nintendo decides to release these as paid DLC items in the future.

The other big hit against this original I.P. is the fact that, within any given multiplayer playlist, there are only two maps in rotation at any given time. Matches are fast, lasting only three minutes each, and you’ll see a lot of the same environments in rapid succession. Throwing a couple more maps in rotation at a time would have circumvented this issue entirely, though the game does switch up the maps that are in rotation quite frequently, which slightly eases the blandness of being dropped into Blackbelly Skatepark six times in a row.

While Splatoon may not boast an abundance of multiplayer maps, the selection it does offer includes design variations that are greatly appreciated, and work well with the different game modes. The rises and dips of Blackbelly Skatepark provide a reasonably sized outer ring for players to quickly propel through in squid form before taking to two legs and entering the firefight-focused center. The Kelp Dome is one of the game’s larger maps, and allows for players to shoot down from a catwalk on opponents below, albeit at the risk of being more greatly exposed to return fire. Port Mackerel and Arowana Mall provide more traditional symmetrical settings, while the winding ramps and square arena of Saltspray Rig host matches that can drastically shift at a moment’s notice.

Unranked matches will net you experience points regardless of whether you win or lose, while ranked matches only reward experience points to winners and subsequently move your letter ranking up or down based on performance. Leveling up grants you access to new weapons or variants of previous ones with alternate stats and loadouts. Much like the game’s clothing items, these weapons cost experience points to claim as your own.

However wildly different two weapons might be, they will always offer pros and cons, so as to keep the entire experience balanced. As a result, the weapons players choose are bound to be the ones they enjoy and are most confident with. While the roller covers a large area, it has minimal range, and is generally ill-suited for fighting other players. The brush splatters paint rapidly from side to side, but handles in an unusual manner, and drains ink rather quickly. Likewise, building up your charge meter to unleash brief but very powerful and broad range of the Killer Wail plays to a much different audience than the timed free-roam invincibility of the Kraken.

Clothing items grant you bonuses such as the ability to conserve ink, a slightly improved buffer when under enemy fire, faster respawn times, and so forth. These are attributed at random upon earning a set amount of experience points while donning a particular shirt, hat, or pair of shoes in battle. These skills do not carry over from one article of clothing to another, however, the sea snails that are earned as rewards for participating in Splatfests – Splatoon’s poll-based tournaments in which Team Cat is pitted against Team Dog, Team Marshmallow against Team Hot Dog, and so forth – can be exchanged for extra skill slots, or to re-roll slots on pieces of clothing which already have these slots filled up.

Gibberish inkling vocals add a further level of depth to the wonderfully-crafted soundtrack. The game’s musical offerings draw inspiration from electropop, J-pop, punk, and even rock sounds that border on the thrash range. Combine this with the spunky and colorful character models, and a nautical reimagining of Tokyo’s Shibuya Crossing as the hubworld menu, and you have a recipe for a truly unique and endearing property. Splatoon is a sensory bombardment at every turn, but never to an overwhelming degree. Above all else, Splatoon is exceptionally weird, fun for players of all skill levels, and a welcome break from the familiar.

My rating: 8.75 (out of 10)

3DS review: Donkey Kong Country Returns 3D

A port of the Wii resurrection of one of the giants of the platforming genre, Donkey Kong Country Returns 3D is Retro Studio’s take on the series that Nintendo and Rare crafted twenty years ago. Cartoonishly-proportioned crabs, birds, and pigs mark the island backdrop, which is divided in many separate ‘worlds’. In the vein of both its DK predecessors and Mario Bros., these worlds include multiple stages, some of which are accessed via keys that can be purchased from Cranky Kong’s shop, along with health bonuses, temporary invincibility potions, and extra lives. Each stage focuses on the simple goal of reaching the opposite end, while throwing a decent number of foes and environmental hazards in the path of DK and Diddy.

With a handful of exceptions, Donkey Kong titles have never been revered for their stories, and this 3DS port follows in that tradition. A group of tiki masks have hypnotized some of the local wildlife into doing their bidding and attempting to stop DK and Diddy. Aside from Cranky’s advice and power-ups, Pigs providing checkpoints within each stage, and the occasional assist from Rambi the rhinoceros, the Kongs are effectively on their own with setting things straight on the island paradise. The break from relying on King K. Rool is certainly welcome, and allows Retro’s personal artistic vision to shine through more brightly than if they had simple opted to retread said territory.

The soundtrack offers solid updates to classic DK tunes, though they tend to be recycled frequently in the many stages. Each stage includes at least one or two hidden areas where players can bounce around or climb up moving platforms to try and gather up bunches of bananas, puzzle pieces, and extra lives. These aforementioned puzzle pieces, as well as the ‘KONG’ letters, are the game’s sole collectibles, but do extend the replay value of the game by a decent margin. Boss fights cap off each world, and become progressively more challenging due to both their mixing up enemy attack and defense patterns, as well as their speed, range, and quicker responsiveness. Some bosses require a direct approach, while other fights will ask that DK and Diddy make use of the environment and its hazards to quash the opposition.

The game’s greatest misstep lies in the one gameplay aspect it opted not to update, but rather take a couple of steps backwards in time with – that being the reliance it has on twitch-based memorization patterns. While these were a common occurrence during the 8-bit and 16-bit eras, they effectively nullify a game’s learning curve in the modern era of gaming, asking less that you play the game, and more that you follow its instructions in the most direct way possible. This aspect is not strikingly apparent during the first couple of worlds, but as DK and Diddy forge deeper into the game, this pattern of merely ‘going through the motions’ drains much of the fun factor from Donkey Kong Country Returns 3D.

The 3D effects are handled in a manner that works for a game that is being ported from a home console to a handheld, adding an extra degree of depth perception, but in truth are really nothing to write home about. The 3DS’ internal gyroscope, which perhaps could have been utilized sparingly for mine cart or rocket barrel segments, is left an untapped resource. While perhaps not the weakest platforming experience on the 3DS, Donkey Kong Country Returns 3D feels decidedly lackluster in the company of Kirby: Triple Deluxe and the recent Super Mario titles.

My rating: 6.5 (out of 10)

3DS eShop review: Shovel Knight

While early looks at Shovel Knight led fans to draw correlations to the Mega Man franchise due to the title’s 8-bit charm and emphasis on fighting through enemy-infested stages in order to reach wacky stylized boss battles, the final product proves much more than an homage to the blue bomber. At the most basic level, Shovel Knight is Yacht Club Games paying tribute to NES-era titles and franchises that have largely shifted to 3D planes since. But inspirations drawn from Mega Man, The Legend of Zelda, the original Final Fantasy, Castlevania, and more are what allows this light-hearted fantasy platformer to work so well while simultaneously crafting an identity all its own.

The story is that of Shovel Knight, long-since separated from his old partner Shield Knight, questing forth to challenge the evil Enchantress and her Order of No Quarter, comprised of eight key members, each of whom has a unique sprite design and battle tactic specific to their stage. Mole Knight digs into the walls and floor of his stage, springing forth to attack Shovel Knight with quick strikes. Specter Knight flings his rotating scythe around his arena of combat, Treasure Knight shoots his anchor cannon in an underwater environment, and so on.

While a few of these boss encounters add environmental challenges to the mix, the matter of which fight will prove the toughest is largely a matter of what items players have on-hand. Within each major stage lies a new weapon or tool to be added to Shovel Knight’s arsenal, though these are often hidden in rooms that are a little ways off the beaten path. So while the only immediate reward for besting one of the bosses is progression to the next area of the overworld, should you miss any one of these items during your initial run through a stage, a gentleman named Chester who resides in the first town Shovel Knight visits will be willing to part with the Dust Knuckles, Flare Wand, Propeller Dagger, Throwing Anchor, and so on for a decent sum of treasure.

Collectible music sheets can be sold to a bard in the same town, and then can be heard any time from then on. Upgrades can be purchased to boost both Shovel Knight’s health and magic meters, and a few shovel attacks can be added to his skill set as well. Around the midway point of the game, a handful of alternate armor sets will become available, each with its own unique properties, such as less treasure dropped upon dying, an emphasis on conserving magic in exchange for less damage protection, etc. This grants players a greater degree of freedom with how they wish to tackle the late-game challenges, as well as a higher degree of involvement and carefulness in decision-making going forward.

Food items such as turkey and apples can be used to restore Shovel Knight’s health within a stage, but as these become less frequent in later stages, the two chalices available for purchase may prove more desirable additions to the inventory. The chalices are effectively the same as the bottles in The Legend of Zelda games – Shovel Knight need only purchase the chalices for a reasonable sum, then visit the Trouple King (a trout-apple hybrid creature who resides in a forest pond not far from the earliest stages) to fill the containers with one of three different healing/defense-oriented concoctions. Should Shovel Knight lose all his health in a stage, fall off a cliff, or run into spiked flooring, the game will simply place the hero back at the last checkpoint and take away a small sum of treasure. This lost treasure can be retrieved, though depending on where in the stage Shovel Knight last perished, this may prove more of a gamble than some may feel is worth the trouble.

Shovel Knight is not an easy game, per se, and it heavily emphasizes a trial-and-error routine. However, its responsiveness is quite fine-tuned, and the game deals out success and failure in a fair manner. Only at a few junctures do the hurdles feel significantly more so challenging, and even then, most can be more easily overcome with the proper equipment at one’s disposal. Beyond the core routine of tackling major stages and facing down the Order of No Quarter, Shovel Knight can take on extra challenges that emphasize treasure retrieval or square off against player-recorded ghosts in the Streetpass arena. A few wandering individuals, such as The Baz and Reize, offer extra battles that are fast-paced and intense, and may need to be overcome in order to reach the next portion of the overworld map.

The order that events need to be tackled in Shovel Knight is only so concrete - while the main stages cannot be tackled in whatever fashion players see fit ala Mega Man, there is a certain degree of freedom that becomes greater the further along players progress. The soundtrack does well to evoke a classic fantasy adventure sound with peppy and upbeat tunes that harken back to the 8-bit era as much as the brightly-colored pixelated graphics do. Shovel Knight is a rare breed – a game that knows its roots and takes plenty of inspiration from them, without identifying too closely with one or another. The game also does well to pace itself, keeping things interesting by offering up plenty of new challenges with each stage, but never extending itself to unnecessary lengths.

My rating: 8.75 (out of 10)

Wii U review: LEGO Marvel Superheroes

It’s crazy to think that it has been almost ten years since the first licensed property LEGO game, LEGO Star Wars, hit store shelves to the skepticism of more than a few gamers. Sure, there had been LEGO games on the PC in the past, but most of these were limited to simpler themes like racing or mining. Fast-forward to 2014 and we now have full-fledged LEGO games for Indiana Jones, Harry Potter, Lord of the Rings, Batman, and most recently, Marvel comics. And boy, has the series changed dramatically from what it began as.

It’s true that the core mechanics of building objects and solving ability-specific puzzles within each level remains largely unchanged, though the sheer variety is impressive. Psychic characters like Jean Grey can lift or alter portions of the environment, Electro and Arnim Zola can charge generators, the Human Torch can melt golden bricks, Hulk and Colossus can tear down barriers marked with green handles, Magneto can manipulate metallic switches, Captain America’s shield can be thrown at rotating locks, anyone with a Spider-Sense can reveal secrets hidden within the immediate surrounding area, Wolverine can dig up treasure – and these are just their abilities for overcoming in-level obstacles. As far as combat goes, each character’s offensive capabilities ring quite true to their comic book origins, though it is effectively a repetitive process of mashing the same few buttons to take down goons – nothing too complicated, given the intended age range for LEGO games.

While puns and inside jokes referencing the films and comic book realms (even some pop culture reference aimed at older gamers) are all fine and dandy, the real reason this LEGO title trumps many other Marvel video games is the insane number of characters that can be unlocked – over one hundred in total, from the obvious headliners like Iron Man, Spider-man, Hulk, Thor, and Captain America, to old-school villains like the members of the Sinister Six and Red Skull, to the more obscure Black Bolt, Leader, Silver Samurai, and Squirrel Girl. The overall presentation treads a fine line between classic comic book plotlines and the polished, real-world character and environment designs of the more recent Marvel Studios films, which makes for a smart marriage that kids and adults will similarly appreciate.

The story is largely focused on Dr. Doom and Loki as the two main villains – Doom wishing to utilize Cosmic Bricks as an energy source for a new ray weapon, and Loki being his usual mischievous self while simultaneously helping to recruit and set loose other villains on the Marvel heroes. Each stage highlights a different set of heroes, none of which are guaranteed to be from a previously identified ‘canon’ team. True, a couple of missions put you in control of the Fantastic Four and the X-Men respectively, but others, such as a trip to Asgard, see Thor team up with Captain America, Wolverine, and the Human Torch.

All around this LEGO rendition of New York City, players can participate in races, square off against heavy foes like the Sentinels, take pictures for J. Jonah Jameson, collect studs aplenty, and complete other challenges to unlock both gold bricks and extra characters. Meeting a certain number of golden bricks will open up more of Deadpool’s bonus mission, which see the merc with a mouth narrating his own action-packed tales featuring quick but enjoyable scenarios with Spider-man and Iron Man halting Electro and Shocker’s latest attempt to rob a bank and Captain America and Daredevil going toe-to-toe with Kingpin. Deadpool’s humor has been toned down for a younger audience, but his signature style still holds true, thanks to the voice talents of Nolan North.

In fact, the voice acting throughout does a solid job at providing each character with his or her own unique identity. While other veterans return to reprise their roles, including Steve Blum as Wolverine, the only voice actor from the films who chimes in is Clark Gregg as Phil Coulson. That said, the voice actors who lend their talents for Nick Fury, Tony Stark, Thor, and so on, provide convincing performances that clearly pay tribute to their movie-verse counterparts while also adding a dash of their own take on these iconic heroes. The soundtrack, meanwhile, pays painstakingly obvious tribute to tunes heard in the Avengers film, and graphically the game looks about as polished as anyone could hope for a game built entirely by digitally-rendered LEGO bricks. The glossy textures and bright lighting effects play off one another well, while bright colors of superhero costumes stand out against the backdrop of nearly every environment.

LEGO Marvel Superheroes is a bit on the easy side, which is only to be expected, given the family-friendly appeal of the game. But no one would argue there is a lack of things to do, as completing the roster alone will require plenty of extra time collecting the necessary studs. Players can revisit stages in Free Play mode to tackle challenges and explore new areas that were otherwise unaccessible with the default characters. Every second of the game provides something amusing, from silly dialogue of pedestrians to the flash and flair of the good vs. evil narrative. The LEGO games have held a pretty consistent track record in terms of their quality and appeal since they first debuted, but this may very well be one of the most polished Marvel games to date.

My rating: 8.25 (out of 10)

3DS review: Kirby: Triple Deluxe

The pink puffball makes his debut on Nintendo’s 3DS in Kirby: Triple Deluxe, a platformer which utilizes the 3D gimmick to a wonderfully full extent. Levels are designed with both foreground and background areas, and small warp stars within each stage act transport Kirby back and forth. Though the story of Kirby: Triple Deluxe is not as complex or carefully scripted as in his other recent outings on the Wii or DS, the game certainly deserves recognition for taking its style and presentation into creative territory more akin to a Final Fantasy title that the typical Dreamland fanfare.

While King Dedede is incorporated into the story and Waddle Dee offers Kirby health items prior to each boss fight, the core game is focused almost exclusively on Kirby himself. Plenty of familiar power-ups return, and the fact that fire, ice, leaf, cutter, and so forth all remain almost entirely unchanged is for the best – there’s no point in fixing what isn’t broken. The new power-ups are a bit of a strange mix, but most work fairly well. The bell allows Kirby to create sound waves with a small range that, when used in rapid succession, effectively creates a small barrier around the pink hero. Beetle works in a similar fashion to fighter, allowing Kirby to pick up and throw stars or foes with the horn spike, as well as granting him flight. Circus is the odd one out, as it feels like an unnecessary hodgepodging of attacks all offered by other long-established abilities.

Some levels will grant Kirby access to the Hypernova ability, which changes him to a rainbow color scheme and increases both the strength and range of his inhalation significantly. No longer is Kirby limited to sucking up footsoldiers or blocks – now he can uproot trees, pull back wrecking balls to knock down stone walls, and even devour large worm-like enemies. This Hypernova power may border on ridiculous, but its use is required for those wishing to track down all of the game’s sun stones or 250 collectible keychains. Plus, seeing huge portions of the environment get torn apart is quite entertaining.

In a highly unexpected turn of events, Kirby: Triple Deluxe utilizes the 3DS’ internal gyroscope in ways that hardly any games before it have. Tilting the system left and right allows Kirby to move faster in gondolas, and are used to solve many of the game’s puzzles. The boss fights, though few and far between, have also seen major improvements. While it has been a longstanding tradition to pit Kirby against some variation of Whispy Woods early in any of his adventures, Triple Deluxe takes everything you have come to expect from that fight and turns it on its head. Each and every end-level boss encounter is wonderfully realized, and collectively rank among the best in the entire Kirby series.

A couple of other modes are available from the outset, including a multiplayer versus match and rhythm game that features classic Kirby tunes. The boss battle gauntlet run of the Arena makes a return, and upon beating the main story mode, players are granted the option of performing a time-trial revisit all of the stages as King Dedede. Like most Kirby titles before Triple Deluxe, these modes are nice afterthoughts, but at the end of the day, the core game is what best represents the overall product. And boy, does Triple Deluxe shine as one of the best entries in the series. In truth, the game’s one major flaw is that it feels a bit short, especially following on the heels of the Wii’s Return to Dreamland. That said, if you are looking for a well-designed and just plain fun platformer, Kirby: Triple Deluxe delivers in a handheld fix that does an exceptional job at incorporating the 3DS’ definitive design points.

My rating: 9.25 (out of 10)

Wii U review: Super Mario 3D World

Effectively successor to Super Mario 3D Land, the latest 3D Mario title, Super Mario 3D World, clings to the 2D-3D hybrid presentation introduced on the 3DS and brings it into a full-HD realm brimming with bright colors, creative level designs, and four-person co-operative multiplayer. The premise is very basic – more bare-bones than most Mario titles, in fact. Bowser has kidnapped all the fairies of the Spritzee Kingdom and it is up to Mario, Luigi, Toad, and Princess Peach to rescue them and restore order to this new land. The gimmick of being able to play as Peach is effectively the main reason for this premise, and while it is certainly nice to see the Mushroom Kingdom’s own royalty be utilized as something more than a plot device for once, Super Mario 3D World is a title that is memorable more for its gameplay than its plot.

Because it combines elements of the 2D platformer Mario titles and 3D free-roam adventure platformer titles, 3D World’s individual levels are generally rather short. That said, there are quite a few of them to explore, and though the challenge factor lacks the consistent degree of increase seen in 3D Land, it’s a far more rewarding and entertaining experience than the offerings of Super Mario Galaxy. There’s also a decent degree of freedom with regards to which stages you tackle in which order in any given world. Often, two stages will be made accessible at once, as well as some of the side stages and minigames, while the end-world boss castle will require a certain number of coins to access. The Spritzee Kingdom utilizes green stars instead of the classic gold stars, and while these green stars are more plentiful, boss stages generally require more of them in order to be accessed, which thankfully restricts the game from becoming too much of a cakewalk.

There are a few new power-ups that join the ranks of classics like the Fire Flower and Boomerang. Arguably the most under-utilized of the bunch is the Cherry, which splits a character into two duplicate copies, which jump and run at the same time. Certain puzzles require a set number of individuals to complete, and if you are playing Super Mario 3D World solo, this can be a convenient means to nab those few odd green stars you may have missed during your first playthrough of a stage. That said, only so many stages see the inclusion of the Cherry, a handful being at the start of the game, and the majority of them in the post-game bonus levels.

Used primarily in the gauntlet-style boss stages, a cannon that is worn on a character’s head fires a steady stream of cannonballs at foes. This can prove convenient for taking out inbound Bullet Bills, accessing a few hidden rooms with collectible stamps inside, or simply making the time-sensitive aspect of completing these stages a bit less stressful. The most highly-advertised new ability is the Cat Suit, which allows Mario and company the ability to dash toward foes and scale walls to reach otherwise-unobtainable items. The Cat Suit, while certainly a unique and bizarre addition to the Mario series, is used in excess, and the novelty of it wears thin about halfway through the game.

Boss fights are enjoyable and nicely varied, requiring different strategies such as gaining a higher vantage point in order to deal damage on a giant snake or splitting a blob-like jester into small jelly bits, which must then be taken out individually. The fights against Boom Boom and Pom Pom are almost identical to their battles in 3D Land, which is disappointing, considering how basic they were than and still are now, but the fights against them are far less frequent. Every once in a while, players will come across a stage designed specifically for an explorer Toad. These stages are set up as one large cube that players can rotate in order to gain a better view as they attempt to collect multiple green stars in one go. The catch is that this adventurous Toad cannot jump and thus players must rely on careful timing to avoid enemies and environmental traps. Similarly, Mario and gang can attempt a fast-paced series of challenges that will reward them with a significant bounty of green stars, provided they complete each of these combat and puzzle-focused challenges within a very strict time limit.

The presentation of Super Mario 3D World is superb. Colors are incredibly bright, textures look wonderful, and even the most basic of enemies appear highly animated. There are easter eggs and secrets abound, as well some rather brilliant twists on classic formulas with regards to the level design. The soundtrack, while perhaps lacking as many outright memorable tunes as Super Mario 64 or many of the older entries in the franchise, is nonetheless jazzy, upbeat, and a joy to listen to. This is a Mario game that does well to follow in the footsteps of its 3DS predecessor – impressive, considering that 3D World lacks the entire ‘3D depth perception’ gimmick provided by Nintendo’s current handheld. It may not be the greatest 3D Mario title out there, but it’s still an overall well-designed and thoroughly polished game, offering up plenty of replayability via its bonus stages and loads of fun thanks to the inclusion of co-operative multiplayer.

My rating: 8 (out of 10)

DS review: Kirby Super Star Ultra

A remake of the SNES classic, Kirby Super Star Ultra features updated graphics including pre-rendered cutscenes that act as bookends to each stage. Though the black edges to these cutscenes are a tad unnecessary, their presentation is solid, as is the more clean and colorful look of the core gameplay which appears to run on the same engine as the GBA title Nightmare in Dreamland. The main game relies on the D-pad and buttons almost exclusively, retaining a very familiar control scheme, while the three minigames rely heavily on the stylus and touch screen. Two of these minigames, a shooting range and card matching, are very simple, requiring little more than quick reactions from players, while the third is slightly more involved as it demands players clear bugs and bombs off a conveyor belt feeding their respective Kirby.

Meanwhile, the core game is comprised of nine different modes, the majority of which act as samplings of slight variations on the core Kirby formula. The SNES release of Super Star was most notable for its addition of copy abilities, which allowed Kirby to inhale certain enemies in order to gain new attacks including the Cutter, Yo-yo, Sword, Bomb, and many more. These abilities are both plentiful and nicely varied, and Kirby can even abandon his current ability to add a partner character to his side. Every partner character bears the appearance of whatever enemy Kirby originally copied, and bears their own health bar separate from Kirby’s. While Kirby can grab various food items to restore his own health, tapping the partner character will share the health regeneration with them.

Aside from Gourmet Race’s fast-paced run against King Dedede to collect the most food items before crossing the finish line, the remaining five game modes are essentially quick snippets of what any other Kirby game would offer up. Meta Knight’s Revenge includes a countdown timer, making it arguably the most challenging of the lot, while The Great Cave Offensive is the complete opposite – a sluggish, time-consuming treasure hunt that lacks any real challenge, fun factor, or sense of fulfillment. Meta Knightmare Ultra offers up a retread of previous stages, allowing players to don the cape and faceplate of Meta Knight. It is the only one of major subgames that relies on the touch screen to activate Meta Knight’s abilities and attacks, each of which requires a different number of points gathered from defeated enemies. The stronger the enemies, the greater the number of points rewarded. The more powerful the attack, the greater the number of points required to activate it.

The soundtrack of Super Star Ultra is generally quite good, though the quality of the tunes in The Great Cave Offensive sound quite rough on the DS hardware. Super Star Ultra is a decent remake – nothing more, and nothing less. It contains everything that led the original to be so well-loved, but the fact that it does very little to incorporate the DS’ touch controls is disappointing. Because it is divided into many subgames, Super Star Ultra lacks any sense of exploration found in most other modern Kirby titles. While there are few Kirby games that ever feel too terribly challenging, Super Star Ultra is exceptionally easy from start to finish.

My rating: 7.25 (out of 10)

Wii review: Super Mario Galaxy

As with practically every other Mario title in existence, Super Mario Galaxy sees Bowser kidnap Princess Peach, albeit in a more grandiose scale than usual. During a festival, Bowser sends his entire Armada against the Mushroom Kingdom and uproots Peach's castle, intent of taking the princess to the center of the universe to serve alongside him as ruler of a brand new galaxy. As Bowser's force easily overwhelms Mario, he drifts unconscious through space until he is picked up by a woman named Rosalina, who is the adoptive mother of a race of tiny stars known as the Luma. Rosalina explains that Mario will need to help her reactivate the different parts of her ship by collecting Grand Stars, most of which have fallen under the control of Bowser's forces. Once Mario retrieves a total of sixty stars, the ship will be capable of travelling to the center of the universe where Peach awaits.

In the same vein as Super Mario 64, Super Mario Galaxy does not require Mario to complete every challenge in a particular stage in order to progress to the next. Instead, he simply needs to acquire a certain number of stars to unlock the next galaxy as well as the boss galaxy found in each section of Rosalina's ship. As he progresses further in the game and unlocks more galaxies, he is granted more freedom in how he tackles the challenge of collecting those sixty stars. Some galaxies are host to bonus stars, but aside from the boss encounters, galaxies are divided into two groups - standard galaxies, which are host to at least three stars a piece, and bonus galaxies, which only house a single star but are generally more challenging and require Mario to complete a race, run a gauntlet, or perform some other comparable task.

Though the bonus galaxies present amusing distractions from the main focus of the game, the majority of the standard galaxies feel somewhat less-than-inspired. As successor to Super Mario 64, Super Mario Galaxy opts for a number of small planets in each galaxy, with one or two puzzles found on each. Mario progresses from one to another rather quickly, making the focus of the game incredibly linear and streamlined, sacrificing much of the sense of discovery and adventure found in other 3D Mario titles. While each galaxy is host to a certain theme - desert, lava, haunted mansion, underwater, etc. - most feel like missed opportunities, and Nintendo could have fleshed out many of the planets to become more memorable and fully-realized worlds. Also, there are a handful of planets that are recycled during later portions of the game, with little more than a mirrored layout, different environment textures to distinguish them. While these are host to different star challenges than the levels they were copied-and-pasted from, the process feels lazy on Nintendo's part. While some of the formulas for boss fights are revisited, these feel generally more creative than the planets, and present a good balance of fun and challenge factor.

The Wiimote's motion controls are incorporated into the gameplay rather well, on the whole. They aren't as outstandingly smooth as in other first-party releases like Metroid Prime 3: Corruption or The Legend of Zelda: Skyward Sword, but considering that Super Mario Galaxy was a relatively early release for the Wii, this aspect is forgivable. However, there are occasional attempts to have players hold the Wiimote in different ways in order to traverse certain areas and complete puzzles. Often, these are highly unorthodox in the way they are handled, and feel clunky when compared to the core gameplay of jumping and spin attacks.

While they can still help Mario recover health, coins serve no other apparent purpose, as Star Bits are now the currency of the realm. Mario's collection of Star Bits in each stage compounds in the hub world, and can be fed to certain pink Lumas to access bonus galaxies. Collecting fifty of them will grant Mario a new life, and there are even a few Lumas strategically placed just prior to boss fights that will give him the option of paying a small fee of Star Bits to gain either another extra life or a temporary boost to his defense. What proves rather annoying is the fact that, regardless of how many lives Mario gathers during his adventures, the number is reset to the default of four lives each time you quit the game. While it is true that this Mario game is lacking much of the challenge presented in other 3D Mario releases, it seems silly that the game would not reward you for having worked to collect those extra lives and, in fact, does the complete opposite.

Despite having been originally released in 2007, Super Mario Galaxy is one of the more impressive looking releases on the Wii. Not all of the textures are up to par with recent Wii releases, but the lighting plays off colorful environments beautifully, and Bowser looks the most mean and intimidating he has in years. The soundtrack is surprisingly epic for a Mario game, but is quite fitting considering the epic space adventure theme that the game is playing toward. The backstory of Rosalina and the Lumas is presented in brief chapters sprinkled throughout, and though the storybook format lacks substance, it certainly holds a unique charm and does well to avoid distracting the flow of the core gameplay. Super Mario Galaxy is notably easier than most other entries in the franchise, and the challenge factor will seem even lower to fans of 3D Mario games.

My rating: 7.75 (out of 10)

XBLA review: Black Knight Sword

From the mind of Suda51 comes another quirky release, this one a throwback to old-school platforming adventure games. Black Knight Sword follows the titular character and the spirit of his blade known as Black Hellebore as they venture through five different stages, confronting the forces of the White Princess. The presentation is that of a play, with the narrator reading poetic lines to preface each stage and the character models and enemies appearing as paper puppets - to be frank, the artistic direction is not so unlike the animated sequences of the Monty Python films.

Each stage that the Black Knight journeys through proves wackier than the last, with the first two stages apparently inspired largely by medieval and Greek fantasy. Later stages include motorcycle gangs and a missile launch site in the American west, and one part of the game even switches to a side-scrolling shooter akin to Gradius, except that the Black Knight is mounted on the back of a giant chicken. With regards to the core gameplay, the Black Knight's attacks are rather limited at the start of the adventure, though he can spend hearts he collects from fallen foes to earn a larger health meter, imbue Black Hellebore with greater power, or buy an extra life. At the end of each stage, the Black Knight will learn a new attack, though some of these prove far more useful than others, given the nature of enemies on any given stage. Also, the order in which the Black Knight receives these seems somewhat backwards.

The degree of challenge the game dishes out is significant - it isn't downright impossible, but it does follow a tradition long-since abandoned by contemporary platformers. While you are able to start the game on any difficulty setting the moment you begin playing, the game encourages multiple playthroughs, with the easiest means of acquiring better health and offensive measures coming from a playthrough of easy difficulty, then normal, and finally hard. Another archaic element is the lack of an autosave feature - players must pause the game and manually save, though they will pick up the game from whatever most recent checkpoint they have reached on a given stage.

Different enemies require different tactics, and there are a couple of recurring miniboss encounters. While these are moderately challenging, the end-level boss fights are truly the highlights of all the combat scenarios, as they allow the Black Knight to make the most use of both his traditional attacks and magic via Black Hellebore. Cat's Head Grass acts as a collectible, with a few hidden in each stage. Beyond the main game is a challenge mode and arcade mode, upping the replay value a notch or two. Black Knight Sword is clearly aimed at fans of rigorous old-school platformers, and as long as those gamers don't mind the moderately bizarre presentation, they should find the few hours spent with the Black Knight and Black Hellebore quite enjoyable.

My rating 8 (out of 10)

Wii review: Kirby’s Return to Dream Land

From an artistic standpoint, Kirby’s Return to Dream Land is largely a throwback to the Kirby 64: The Crystal Shards. The worlds are all rendered in 3D with 2D backdrops, and the brief cutscenes adopt a storybook frame and filter. The gameplay, on the other hand, is largely a throwback to the SNES era, with emphasis on utilizing copy abilities one at a time. While plenty of familiar copy abilities including Cutter, Beam, and Spark make their return, there are a few new ones like Leaf, Whip, and Water – all of which feel right at home alongside their long-established counterparts.

The story of Return to Dream Land is relatively simple in scope – Magolor, an individual from another part of the galaxy, crashes his starship, the Lor Starcutter, onto Kirby’s home world of Pop Star. As most of the ship’s major pieces have been scattered across the planet, he asks Kirby and friends to track them down while he tends to his ship. Collecting main pieces like the mast and oars are required to progress the game and unlock new levels. Each region that Kirby visits – from Cookie Country to Nutty Noon – is new to Return to Dream Land, but features design elements used in previous Kirby games. There are the traditional island stages, snowy stages, and underwater stages.

The game’s best moments of creativity shine through in levels that incorporate puzzles that require Kirby to use his new super copy abilities, as well as the intense gauntlet that precede each boss fight with one of the new Sphere Doomer enemies. Upon defeating each Sphere Doomer, Kirby is rewarded with two Energy Spheres, though others can be found in the various stages he visits. Collecting enough Energy Spheres unlocks minigames and copy abilities for Kirby to grab at any given time from inside the Lor Starcutter. As with most Kirby titles that preceded it, the minigames in Return to Dream Land provide brief distraction from the main game, but are largely unrelated to it.

Though Kirby is the only playable character capable of using the copy abilities, friends can drop in or out of the game at any given time, allowing up to four players on the screen at any given time. The other playable characters include King Dedede, Meta Knight, and Waddle Dee, each of whom is granted decent range and attack via their respective hammer, sword, and spear. While the early stages are largely a cake walk, the game progressively amps up the challenge factor. Later bosses can take as much of a beating as they are capable of dishing out, and collecting each and every Energy Sphere requires quick thinking on the fly and well as precise timing.

Upon completing the main game, a bonus mode is unlocked that challenges players to revisit levels now stacked with greater trials. In this, Return to Dream Land does well to present a decent amount of replay value and substance for completionists. The main game is not terribly difficult, but later levels will quickly deplete your extra lives should you rush in without caution. There isn’t a whole lot new with regards to the gameplay, but at the same time the core Kirby games hold strong to a formula that has worked well since the series’ earliest releases. Return to Dream Land is sure to delight, whether you are a hardcore Kirby fan intent on exploring every nook and cranny of Pop Star’s latest levels, or you are simply looking to enjoy an afternoon playing cooperatively with your friends.

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.

DS review: Sonic Classic Collection

The Sonic Classic Collection combines the four main Genesis-era Sonic titles - Sonic the Hedgehog, Sonic the Hedgehog 2, Sonic the Hedgehog 3, and Sonic and Knuckles - onto one convenient cartridge for play on the go. All of the games are accessible from the outset, and despite the smaller screen size, still look decent. A new addition not found on the original Genesis releases of all the games is the ability to save the game to multiple files. The soundtrack comes through the DS speakers decent enough, and the controls are pretty solid in tandem with the aforementioned smaller screen size.

Recent handheld Sonic entries, such as Sonic Rush, have utilized both screens to fit more of each stage into a player's field of vision. Unfortunately, the Sonic Classic Collection does not use the bottom screen for any purpose. It's a tricky situation - on the one hand, they could have faced backlash from purist fans, but on the other hand, the view of each level is crunched into a relatively small space.

There really isn't much else to speak of with this collection. Some artwork of early 1990s Sonic and friends can be accessed from the main menu, but there is no work involved in unlocking it. The ability to play as Knuckles in both Sonic 2 and 3 is a nice addition, though. Simply put, the Sonic Classic Collection is a decent grouping of the four old school titles. There isn't anything truly outstanding about it, and it's much easier to appreciate the full experience that comes from playing the individual games on the Genesis, Wii Virtual Console, Xbox Live Arcade, or any of the other stand-alone releases the games have seen over the years.

My rating: 6.75 (out of 10)

DLC review: Sonic the Hedgehog 4: Episode Metal

For anyone who purchased Sonic the Hedgehog 4: Episode I and Episode II on the same console, SEGA provided a bonus game, titled Sonic the Hedgehog 4: Episode Metal. It puts players in control of Metal Sonic, exploring just how he came to be revived by Dr. Robotnik as well as how he managed to track down Sonic and Tails. The story begins with Metal Sonic lying broken and battered on the Stardust Speedway from Sonic CD, a stage which has been gorgeously rendered in the Sonic 4 engine. Robotnik swiftly fixes up his creation, then sends him off to find a new source of power.

The game's introductory sequence is simple enough, but it does a great job of drawing you into the story of Metal Sonic. Unfortunately, nearly everything that follows is borderline-disastrous. Episode Metal, though accessible from the menu of Sonic 4: Episode II, is run entirely on the engine that was used for Sonic 4: Episode I. Whereas Sonic controlled less smoothly in the first episode, Metal Sonic does not slow down as quickly as one would hope and manages to crash into just about everything in his path.

Each level that Metal Sonic traverses only lasts a single act. However, each of these levels is recycled from Sonic 4: Episode I. He will revisit Splash Hill Zone, Casino Street Zone, Lost Labyrinth Zone, and Mad Gear Zone, albeit in a somewhat reverse order. Lost Labyrinth Zone proves the most enjoyable of the bunch, as the rolling boulder puzzle element has been kept intact. Any puzzle elements from the other stages have been removed in favor of more linear pathways. While this does move Metal Sonic through each stage more quickly, it does not allow for much freedom in choosing alternate routes and effectively removes the entire challenge factor.

It's a good thing that SEGA included Sonic 4: Episode Metal as a free bonus, because no one should ever have to fork over money to play this mess of a Sonic title. It is true that Episode Metal was never intended to be as full and fleshed out a product as either Sonic 4: Episode I or Episode II. But it seems like SEGA put forth as little effort as possible into Episode Metal. Metal Sonic's controls are very clunky, the same levels are recycled in a lazy manner, and there are no boss fights. Episode Metal's one saving grace is that it takes than a half an hour to complete.

My rating: 5.5 (out of 10)

XBLA review: Sonic the Hedgehog 4: Episode II

Sonic the Hedgehog 4: Episode II picks up, naturally, where Episode I left off. Sonic and Tails are still in pursuit of Dr. Robotnik, chasing him across four new zones, each with three stages and one boss fight a piece. Aside from his new mechanical weapons, Robotnik has a surprise in store for the game's heroes - Metal Sonic has been revived, and is eager for revenge.

Whereas Sonic 4: Episode I was intended to be a general throwback to the Genesis-era Sonic games, Episode II pays homage to Sonic the Hedgehog 2 and (to a lesser extent) Sonic CD. The inclusion of Tails allows for cooperative online play as well as some new combo attacks. These combos allow Sonic and Tails to avoid giant pits by flying over them and crushing obstacles by spinning forward in a giant wheel attack. The combo attacks are only used every so often, so it doesn't feel like the duo relies too heavily on them. That said, when they are in use it makes the gameplay a bit more dynamic. Sonic 4: Episode II is one of the few instances in recent years where Tails' inclusion actually feels worthwhile.

The look of Episode II is a massive improvement over Episode I. Everything is rendered with 3D models, and there is plenty of detail and color worked into every level. The lighting and water effects are nice, and the level designs feel far more original than in Episode I. The soundtrack isn't exactly full of standout tunes, but does not rank among the series worst either. Many of the songs in-game are repetitive, catchy, but not overly memorable. Metal Sonic's new theme is one of the more enjoyable listens.

The boss fights do well to incorporate the environment in creative and fun ways that present a significant challenge, but never to the degree where you want to pull your hair out in frustration. There is certainly an element of trial-and-error, and old-school Sonic fans will probably be quick to catch on to the strategy for taking down each boss. Still, climbing boxes as Robotnik scales a mineshaft in a crawling mech or looping around rings as you make your way toward a central control pod present memorable boss encounters. In the past, boss fights against Metal Sonic have often been among the best in the entire Sonic the Hedgehog series. Episode II pits Sonic against Metal Sonic three times, and while none of these face-offs are as impressive as the race in Sonic CD or Sonic Generations, they are still pretty well planned out.

There are a very few moments where the game hiccups and the lock-on attack does not seem to want to cooperate. It only happened to me in a few specific points late in the game, but at points where said attack was entirely necessary to advance through a level. For the most part, though, Sonic controls perhaps the best in Episode II when compared to any of the other side-scrolling games in the series, due to both the responsiveness of the Xbox 360 controller and the fluid motions of Sonic's character model.

The bonus stages take on what is essentially the same style they had in Sonic the Hedgehog 2 - a race down a track to collect a set number of rings before passing through a checkpoint. It's not the most exciting process in the world, but it's more intuitive and faster-paced than the bonus stage mini-game from Sonic 4: Episode I. The final stage completely does away with the "greatest hits" style of repeating all of the boss fights in rapid succession, and instead has two boss fights - one against against Metal Sonic and the other against Dr. Robotnik. The end of Sonic 4: Episode II is built up well and feels like the climactic conclusion the game deserves.

Sonic the Hedgehog 4: Episode II is not perfect. In the same fashion as Episode I, it only lasts a little over an hour. But nearly everything Episode II manages to do correctly acts as a vast improvement over Episode I. It controls wonderfully, there's a nice variety presented in the gameplay, and the design is far more original than Episode I's copy-and-paste approach. It may still fall short of the legacy of the original two Genesis Sonic games, but Sonic 4: Episode II is a fun trip back to simpler days of side-scrolling action.

My rating: 8.25 (out of 10)

XBLA review: Sonic the Hedgehog 4: Episode I

Some sixteen years after the releases of Sonic the Hedgehog 3 and Sonic and Knuckles, SEGA has heeded the cries of many fans who wanted nothing more than the return of the original formula. There have been a few side-scrolling Sonic games in recent years, like Sonic Rush and half of Sonic Generations, but most outings since the start of the 2000s have been from a third-person perspective. Sonic the Hedgehog 4 is being released in two parts, and Episode I seeks to rekindle the flame for fans of the Genesis classics.

For starters, Sonic 4: Episode I controls almost exactly the same as the original three games, though the accuracy of the blue hedgehog's motions have been adjusted to play more smoothly on current generation hardware. The lock-on attack is carried over from the Adventure titles, and makes for a much more enjoyable experience, as there is no guesswork involved in attacking enemies. That said, strategy is no sacrificed, as each enemy has a different method of attack/defense that players will need to work around. Episode I favors high-speed thrills over lethargic puzzle-based segments, though the few puzzles that are included are quite well designed, requiring players to tilt a room to drain it of water or spin giant mobile gears to open doors.

Graphically, the game looks pretty good. Everything on the screen is brightly colored and there is some nice attention to the finer details, while the game design as a whole puts forth a solid effort to recall its classic roots. The new-school Sonic character model is used, albeit with some cel-shading that is a bit rough on the eyes.

As this is only the first half of Sonic 4, there are a mere four levels included. Each has three acts plus a boss fight, so they all last longer than a typical Sonic stage. The first level of Splash Hill Zone follows the pattern of Green Hill Zone and Emerald Hill Zone. Casino Street Zone is a nearly-direct copy of Casino Night Zone, though it does include cannons and card platforms as a means to traverse the terrain. Lost Labyrinth and Mad Gear are the best of the bunch, with the former feeling like a wildly original spin on the side-scrolling Sonic experience, despite a note taken from Donkey Kong in the form of a mine cart ride segment. The latter, Mad Gear Zone, is something of a hybrid between Chemical Plant Zone and Wacky Workbench, but still brings enough new gameplay elements to the table to merit its important role as the final true stage of the experience.

Boss fights are nicely varied and present a decent degree of challenge. At the end of the game, players must face off against all four of these once more, in a 'greatest hits' lineup. However, this is both unnecessary and unmerited due to the fact that Episode I only lasts a little over an hour. It feels lazy on SEGA's part, and they should have just cut to the chase and made the final boss fight more impressive and challenging.

The soundtrack gets off to a bumpy start, as the first few tunes are some of the most boring and uninspired since Sonic Rush. However, the tunes that play throughout all the acts of Lost Labyrinth and Mad Gear, as well as the boss themes, are very well done. They are as catchy as they are befitting of the levels they have been associated with, and are in keeping with whole 'throwback' vibe.

When SEGA says "Episode I", they really mean it. There's not a whole lot to this first chapter of Sonic 4, and the best part of the experience lies beyond the halfway point. Still, if you are a fan of classic Sonic and are in need of a quick fix, Sonic the Hedgehog 4: Episode I should serve as a decent solution.

My rating 7.75 (out of 10)

New Super Mario Bros. 2 announced

A new New Super Mario Bros. game is coming to the 3DS. This will be a side-scrolling Mario title in the same vein as the New Super Mario Bros. for the DS and the Wii, and should not come as much of a surprise considering how well-received both of those games were. What does surprise me a little bit is that this 3DS New Super Mario Bros. will be out by August. This Mario title follows hot on the heels of Super Mario 3D Land, and I'd wager there will be a sequel to 3D Land within the next year or so (much like Nintendo did with Super Mario Galaxy).

25 Days of Villains - #6: Dr. Robotnik

"I am Dr. Ivo Robotnik, the greatest scientific genius in the world!"

Hear me out - I realize Dr. Robotnik (or Eggman, as he is referred to nowadays) is not among the most successful of villains. Sonic has foiled every single one of his plans, from his earliest robotic creations to his most recent time-travelling beast. But there's no denying how iconic the goofy main antagonist of the Sonic the Hedgehog franchise is.

Robotnik has never been known for subtlety. His classic hover chair accommodated a number of attachments, from spiked wrecking balls, to drills, to hydro cannons. His floating Death Egg fortress was one of his earliest creations that reached mammoth proportions. In Sonic Adventure 2, he reactivated the lost colony ARK, which was revealed to have a giant cannon capable of shattering half of the moon, and that just so happened to bear a striking resemblance to his own visage. Even the Egg Dragoon, though considerably smaller than the other two, is an ostentatious mecha unit loaded with every imaginable form of ammunition to serve as overkill in taking down one hedgehog.

Some of his more successful endeavors include the creation of Metal Sonic, and the occasions where he turned to Knuckles, Chaos, and Shadow as his ever-powerful number one fighters. Through Chaos, Robotnik managed to acquire each and every one of the Chaos Emeralds, though things went south once Chaos morphed into his uncontrollable perfect form. Shadow, on the other hand, proved much more loyal to Robotnik for the majority of Sonic Adventure 2, even continuing his search for the Master Emeralds as he questioned his purpose late in the game.

Probably the two instances Robotnik came closest to victory over Sonic were during the events of Sonic Adventure 2 and Sonic Generations. His plans in Sonic Adventure 2 would have succeeded, had he not misunderstood his grandfather's legacy. In Sonic Generations, Robotnik (both his past and present selves) used the Time Eater to erase history and every instance of Sonic's victory over him. As a side effect, all of Sonic's friends were locked away in various places from his past journeys. The thing Robotnik had not counted on was the fact that, without any measure of time present, the two versions of Sonic were able to move back and forth freely, and this allowed them to quickly gather the Chaos Emeralds to go Super Sonic on the Time Eater.

Robotnik's victories may be small and limited - often they are through the actions of his creations and subordinates. But he certainly is persistent, and is determined to someday defeat the famous blue hedgehog. His methods can be a bit ridiculous, but you have to give the man credit for his style.

Theme:

Yes, it's cheesy music from the early 2000s. But I love how catchy Eggman's theme from Sonic Adventure 2 is - very befitting of someone who enjoys tooting his own horn so frequently.

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 - #17: Chaos

Chaos is a prime example of something peaceful and pure going horribly awry. When Chief Pachacamac leads his tribe forth to conquer the land, he turns to the awesome power of the Chaos Emeralds, against the warnings of his daughter Tikal. In so doing, he angers Chaos, protector of the Chao, who then uses the Chaos Emeralds to transform into his Perfect Chaos form and effectively wipe out the tribe.

Hundreds of years later, Dr. Eggman seeks out the same power of the Chaos Emeralds, but decides to harness the power of the now-corrupt Chaos for his own ends. Stealing the Chaos Emeralds one by one from Sonic and his pals, Eggman provides Chaos with boosts of energy, making him stronger with each battle. The emeralds also warp Chaos’ appearance from the semi-humanoid Chaos Zero stage to the gargantuan water lizard Perfect Chaos form. Near the end of the game, Chaos breaks from Eggman’s influence, going rampant, flooding streets, collapsing buildings, and destroying most of Station Square.

The boss fight against Perfect Chaos was one of the most memorable in the Sonic the Hedgehog series for me. I thoroughly enjoyed the fact that he was rendered in high-definition, with lots more detail in Sonic Generations. A mute force of destruction, Chaos certainly lives up to his namesake.

Boss theme:

Aside from the main theme of “Open Your Heart” being used during the final fight against Perfect Chaos, the theme that plays when battling his sixth form is probably my favorite.