The latest in the Super Mario Bros series is New Super Mario Bros U Deluxe. The game is both New Super Mario Bros U and New Super Luigi U from Nintendo's Wii U system, now combined for the Nintendo Switch. I haven't played a platform Mario game since Super Mario Land 2 and Super Mario Run. That is what NSMBU Deluxe reminds me of the best and worst Super Mario Bros games put together to make an Ok game. It's not game changing like Mario Bros games from the past. Super Mario Bros 1 helped popularized the platforming genre. Super Mario 3 gave us a way to reply levels and a new structure of gameplay. Super Mario 64 gave us our first open world to the universe that led to some of the best sandbox games we have ever played. The mod community forced Nintendo to create the best Mario game of them all, Super Mario Maker.

Though we are not here to talk about that amazing game, we are talking about a port of a Super Mario Bros game from one of Nintendo's most disappointing console next to the Virtual Boy. NSMBU Deluxe may be easy, this is the first time I've seen an option for an easy mode since Super Mario Land 2. A lot of people have talked about the controls and I couldn't agree more, unlike Super Smash Bros you can not remap these to your preference. Playing with one hand using the pro controller I found it kinda of hard to do things like getting a boost with the flying squirrel power. It was also tricky to do a butt breaker first try.

I know we are in 2019, though it is sad when retro looking indie games look better than a triple-A title like NSMBU Deluxe. I wish they gave us a downgrade option in the graphics to give it more of that classic look. To me, it just feels like Super Mario Run meets Super Mario Bros 2 for NES. The reason why I compare this to Super Mario Bros 2 for many reasons. It's the first time you have the option between different characters since Super Mario Bros 2. There are aspects of the game people love about it, along with dislikes. Though even if there is a love/hate relationship with Super Mario Bros 2, which I found out a few years ago was originally Yume Kōjō: Doki Doki Panic (translated as Dream Factory: Heart-Pounding Panic and usually referred to as Doki Doki Panic) in Japan, and remade into Super Mario Bros 2. You'll always be pleasing the hardcore Mario fans. If you're really good at platformers this is a short experience with story mode.

(History of Super Mario Bros 2 by the Gaming Historian)

There is some ok level design in both Super Mario Bros 2 and NSMBU Deluxe. I feel NSMBU Deluxe will have the same fate as Super Mario Bros 2. It seems like RND took the worst parts of the Famicom Super Mario Bros 2 controls and tweaked them to be even worse for NSMBU Deluxe. Though there are some fun aspects to NSMBU Deluxe. The challenge mode is actually quite fun. It's a great break from the story mode. Though I don't know if it is enough to keep people playing. Like I said there are some great indie platformers that have a great balance and are expanding on the genre for a third of the cost of NSMBU Deluxe. You could get four or five indie titles for the same price as NSMBU Deluxe. Though if you are a lover of Super Mario, this game may be for you. For me, I'll play this off and on throughout the year, though I'm holding out for SNES ports to finally make their way to the Switch.

Like I said in the beginning, I have not played a platformer Super Mario game in a long time. I wanted to see what I was missing seeing I never owned a Wii U because I thought it was a waste of money for me because I could never play the gamepad with one hand. So Nintendo graciously sent me a copy to play. I just hope we see some really good stuff seeing January was not so good with first-party titles and delaying Metroid Prime 4 for a few more years. We believe in you Nintendo, you can do it!

But I can hear your clamor, "It has a seamless storyline, so what? It's a video game, there's more to it". I couldn't agree more my hypothetical straw-man gamer, but would you believe me if I told you that wasn't all there is to this game? Gamers of old had to have started playing somewhere, and if you were like me it was with Jumpman 'Mario' Jumpman; And if you remember playing that game, don't worry, we're not that old yet. The controls of this game are as clean and simple as they get, you can jump, you can dig and hit things with your shovel. Gathering treasure is still important to shovel knight apparently because there's a tonne of it wherever you go, and you'll want to pick it all up; because who doesn't .There's some extra power ups, but otherwise there are no combo's you need to memorize. It feels clean, plays like a charm on any platform (and every platform). Shovel knight has made it to pc on steam, to the 3DS, to OS X, Linux and will be coming to playstation 3, 4 and vita (I'm looking at you xbox one).

These days, platformers have made a return through indie games. A strong return too, as well as pixel art. So if you like that, this will blow your mind. The art is easily one of the games strengths. Each level is crafted with awesomeness, from the plague infested castle of the aptly named plague knight, to the icy landscapes of polar knight. It's glorious in all it's pixely splendor. The music on the other hand, is amazing. Every tune is beautiful, and the best thing is their collectible. They really set the atmosphere for every level, its like actually being there; and if you stayed for the retro art style then you'll stay for the chiptune goodness that is crammed into every second of this game. The music is easily my favorite aspect of this game and I think Yacht games hit this nail right on the head.

So if you find yourself with a couple of hours with nothing to do, and have an affinity for retro games and a flair for odd weapons. Then you'll love digging yourself into this game.

Have you ever completely failed to make a jump from one platform to another, again and again? Well Wings of vi will kindly reintroduce you to that feeling you get when you do. The game is no joke, supposedly opting for a complete 'skill based game play' over pixel perfect jumps and luck. If you have some serious focus and mad reaction speed then you'll do fine. If you're not a super human warrior, then you might find yourself having a struggle once in a while.

Mechanically this game is smoooooooooooth. It plays and feels like a glove, so there's very little input lag. Not that there's much to input. Akin to earlier platformers Wings of Vi has simple controls; up, left, right, down bound to their respective arrow keys. In addition to a jump, action and restart (or suicide) button. Getting used to the controls won't be tough, mastering them is another thing however.

If one thing can be said about Wings of Vi, is that they don't shy from fleshing out their characters (if ya know what I mean). Or the rest of the game for that matter. Another flashback to platformers of old is the pixelated art style that Wings of Vi sports. The style is akin to the megaman series in the way area's are designed and given filling. You won't be focused on whats around you most of the time however. The little angel sprites are cute, as well as the many other things you may come across (except the demons, not cute). One thing I might add as well is that you can customize your character; but if you want them, you'll have to work for them. Flawlessly beat that boss and maybe you'll get a hat to wear, who knows, it might look badass.

What is really unique about this game is that it is played with a special controller called the DK Bongos. Each respective drum moves DK left or right, rapidly drumming will make DK run and both drums at the same time make DK jump. Clapping your hands (or ANY loud click, snap or tapping noise) will make DK clap. This is how you engage in combat with larger and stronger enemies, grapple onto vines, and how you grab bananas. This control scheme works extremely well for how the game is laid out, especially when considering that the game was likely made with the DK Bongos in mind. The control scheme that would have been required for a normal controller would have been very unintuitive and extremely difficult to use.

All in all, this game is probably one of the most fun and unique platforming games I've ever played. It has great visuals which rival even some current gen consoles, the music is fantastic and gets even better when you start to rack up a high combo, and the gameplay is well suited for the controller that was made before it. Definitely worth your time and money, assuming you can find a working pair of bongos. But until then, I'll be seeing you.

Score:

Storyline/features:

          Mark of the Ninja is a 2D platformer that focuses on stealth and otherwise being ninja. The story is set in the modern day, where ninjas have perhaps become slightly outdated. You play as a ninja (go figure) who's clan was ruthlessly attacked by mercenaries. Your task is to strike back at the man who ordered the attack, and regain your clans honor. However, to do it you accept the burden of the mystical Mark, giving you mysterious abilities; but these powers come at a horrible price. The marks powers hail from a mysterious plant, who's origins I will later discuss. Besides giving you superhuman abilities, it turns whoever accepts it mad, in time. Turning on anyone and everyone, killing with the only intention to end lives. To ensure the safety of the clan the bearer of the mark kills themselves, turning themselves in before becoming to powerful to stop. 

        One thing that you catch on quite quickly is that the game strives to keep elements of the ninja authentic, point in case is that you don't know who you are. Your name, and anything about you is shrouded in mystery. Perhaps the only information you have is Ora, your companion throughout the game, and the name of your clan, the Hisomu. This approach to a character, especially a main character is not a common thing. Even in other games where the main protagonist is a ninja, it's more common that his/her name is one of legend (or infamy). However the fact of the matter is that the identity of a ninja was completely secret. So much so that it would be quite common that ninja's from the same clan would confront each other in battle (1). This was the case because ninja families were born to serve lords, for honor of their lords and clan.

      I will admit that the storyline is not the most complicated, nor is it a epic that spans several hundred hours; but for the narrative it tries to tell, it is well done. Not only from what happens during cut scenes, but during the game too. Now in most cases I don't really enjoy collecting, running every which way to find small things that give you an arbitrary 100% that don't really affect the game and its story. In Mark of the Ninja there are collectibles in the form of scrolls, and artifacts. Artifacts only give you points that count towards your final score, where the scrolls contain Haiku's. There are three a mission, and together they tell a short story about the clans history. Here's an example:

       On a starless night,  An unkindness of ravens,  Lands along a wall

Drunken, laughing guards ,  Spill outside with joy to meet ,  The eyeless faces

A thick liquid drips ,   Down a silken thread that hangs ,  Above a pillow

This particular set of scrolls tells of a mission. One that brought the Hisomu clan into legend. Reading through them really gives you an idea of how things were back in the day. When ninjas were feared, for the unknown power they wielded with deadly precision, and how it has all changed in the modern day. This is a major theme in the games storyline, and drives the majority of the plot. The death of the Baron, who ordered the attack on you from out of nowhere. To the well kept, dark secrets of the ink plant. These events simply act as a story, a children's tale. Because the whole game leads to its finale quite literally, and figuratively. 

       Throughout the game, it feels like you are alone in your mission to save the clan. Like you have been knowingly abandoned to your death, and the only 'light' is your one companion in all this. Ora, who is that companion seems to follow you through the thick and thin. Through the castles, deserts and back home. During development, it was decided that Ora would have a big speaking role. Which is hard to imagine in a game about stealth. So what you'll notice is that she only shows up at select times during a mission. Most often at the beginning and end, with some exceptions. So she's a constant factor in how you see the different situations, always lending a couple quips to give you some perspective. One thing I don't like, is that it's a narrative you have to listen to, and her reasons are never explained. All you know is she's a 'friend'. It feels like she has no other use in game than to push an idea. Thankfully, or at least true to the games varying gameplay, you make the finale decision. Figuratively and literally.

Game play:

Mark of the ninja is a particular game in the sense that its a 2D stealth platformer with emphasis on lighting dynamics. It uses a number of small mechanics to make the game play .It also uses sound quite effectively in its design. Stealth is often based on being able to see the mark and in some cases hearing them move, there are also some instances where you can sense the unseen. Mark of the ninja's game play makes use of them all. In general game play, not standing in a spotlight's or flashlight's gaze means you are in the shadows. 

       The lighting system is really interesting, and I'll explain. All light in this game comes from a source: lights, chandeliers, spotlights, floodlights, flashlights etc. Each has a one of a few 'gazes', as in it propagates outwards from the source in a particular way. Chandeliers give light out in about a ~150degree radius, and the light reaches as far as the outline shows. Flash lights have a smaller ~25 degree radius but can be shown anywhere the guard points, so are flexible in their direction of gaze. However if the guard is looking for you it's much harder to move around. So being caught out by them will happen more often. Another example of a source are the floodlights. They are similar to the the flashlight and ceiling light, in that it is staitionary and has a smaller AOE; but it has a protection from another small game mechanic, which i'll get too soon. Being able to skirt light sources is key in staying hidden, and you'll have too look out for a number of different types too. Because as soon as you step into the light you'll know. If you take a look at the photo to the side, paying particular attention to the to left you'll see a small icon of the ninja. This is your stealth indicator, and the icon will become lighter, as well as your character model if you step into the light.

       This is when you know you can be seen. Which is interesting because it doesn't mean you will be seen. The guards that populate each level have a small area in front of them that they can 'see'. This is indicated by a light outline that propagates out their eyes. If you come into this area they'll see you, and being sighted is its own little mechanic. You can in fact stand right in front of them, if your in the shadows, without being noticed. Get too close though and you'll be spotted out from the flashlight. So here two mechanics come together to create a game play experience. If you're standing in the light, and a guard happens too look towards you, he or she will instantly spot you. Which means a light source effectively extends the guards sight range. I think this is a really cool because of how it mirrors real life, as light tends to help you see stuff. In game play it keeps you on your toes, as just because there aren't any guards on screen to spot you doesn't mean one won't. As far as I know the range is pretty big, but not infinite. So avoiding lights becomes immensely important if there are guards around, especially if they are looking towards you.  

       The other way you can be found out is by sound. Being a ninja, you were trained to be as quiet as possible, so moving around generally makes very little noise. Running however will make quite a racket, and anyone nearby will hear it. In the first play through of the game you can see how far the sound travels out from its source. The game indicates this by a transparent white circle that moves outwards from the source. So its omnidirectional, but in a 2D space (if that makes sense); and I think it does because if you think about it, the idea feels right. It makes sense when you play the game and hardly needs explaining, it's easy to grasp. Which is a recurring theme around Mark of the Ninja's game play, and this why I think the game does very well.

       Now its all well and good that you can see the sound visibly, but how does it affect the game play? I'll use an example; in the image to  

the left. Here you'll see two guards, and our ninja protagonist perched on a hanging platform just above. By the feet of one of the guards is the source of the sound (I'll explain later what it is). Now you can see by the outline how far the sound went, and that the guard is in that area. The smaller yellow circle around the guard indicates that he has heard something, and the fainter yellow circle is where he thinks he heard it. So you can imagine how this works now. Using something that makes sound you can get a guard to turn away, so you can slip by, or murder him.

         One thing you'll have to remember though is how much sound you make, because if you noticed, the sound in this game travels through everything. Its one of the slight gripes I have with the game but its fairly minor, and actually makes game play better. In the picture above you'll see the outline goes into the floor. In another case perhaps its at a wall; the sound would go through it and into the next room for anyone to hear. Thus the real life physics of sound absorption is omitted (its not the only time this game does that). You'll find though that this has very niche but effective game play uses. For example getting the attention of a guard behind a door, so that he comes outside and you can sneak into the building without being spotted. Its a peculiar interaction, but its quite cool to think about.

       Now for actual gameplay, the how do I ninja bizz. Controls in Mark of the ninja are really quite simple, left analog for moving and right for looking around. A button for jump, X to punch/kick, and Y to use your tools (if you haven't noticed I used a xbox controller). Other buttons do things but i'll get to that in time. In the beginning of the game you don't have much, in fact you have nothing. So everything is 'vanilla' and as the game progresses more tools are added, more powers tapped, and techniques learned. Each level is story driven so there's no generic kind of mission, but I'll use the first level as an example. The first mission is to free your ninja brethren from the mercenaries, and is quite simple as most first levels are. In order to do so however you need to stay hidden, or you get caught and there's no one to free anyone else, logically. 

        So you have to hide, and there are a lot of places to do so. Much of each levels design is centered around how you can move through them. For example a hallway will have doors that you can hide behind. Allowing you to avoid detection by sensors and patrolling guards.  Simply done by pressing A next to one. There are many other things to hide in and on, trash dumps, garbage cans, pots, statues etc. For a normal person, hiding behind one of these isn't too hard, if whoever is looking for you isn't trying very hard. So a ninja with superhuman abilities should have no problems. 

      Suppose however you can't hide. There's a guard who just won't look away long enough, what do? In Mark of the ninja you have to often think about 'how can I get past this, and what can I use to do that?' In most cases your tools are immensely helpful. They allow you to distract and kill, depending on how you feel. Historically a ninja would not kill anyone but his/her mark, to avoid being caught; and it is possible to end every mission without killing anyone (save a select few). If you do choose to kill, there are many ways to do it. A wide variety of tools, and death blows are at your disposal. Assassinations are sometimes necessary, and they work like a combo. Input the combo correctly and the mark dies silently, but mess it up and whoever is dying will make a lot of noise.  It's oddly satisfying to flawlessly take down an entire task force alone. But it also comes at a cost. A cost to your score.

       Now it might be odd to think, there's a score system in a ninja stealth game. What the diddley doo for? To create balance, and options for the player. You could kill everyone and hide their bodies (for extra points, plus safety) or just leave them be. Not killing them is harder to do, if your plan is to stay unnoticed, but also gives greater reward. At the end of each mission your score is tallied, and the points come from how you interacted with the guards. Either he/she never noticed anything, got distracted by a noise or something you did, or died at your hands. For the system to be balanced, each has a different point value. Untouched give the most while dead give the least. Additionally extra bonus points come from not killing anyone, and distracting no one. They are much harder to achieve but are possible. 

      Most of the fun in the game play for me was being able to choose. It felt like I chose my own path. If a particular area was too hard to get by without killing, then I would go find a different way past. And my favorite thing about the games is its vast array of possible plays. There is absolutely no reason to play a level the same way ever, if you wanted to. It was also a lot of fun to be a ninja, in the way ninja's really were.

Audio + visual:

The game looks like a cartoon, there's no denying this. The visuals are bordered with a small out line to make it easier to see, which is nice in the relatively small amount of light. Only the foreground, and things you can interact with have these visible outlines. The rest of the scenery though is very much beautiful. Mark of the ninja makes use of multiple layered backgrounds, and I think its a cool way to depict a city. There are 5 different areas, with completely different visuals, and its a treat to just look at them sometimes. 

It's not generally a thing to do, but if you stop and look once in a while you can see how much detail goes into this game. Especially when you listen a bit. In a game with patrolling guards, most of their dialogue is simple and repeats over and over. In mark of the ninja the guards have a huge repertoire of lines, and they hardly ever repeat something you've heard before. I mean they don't exactly say anything that has any particular importance to the game, but its that level of detail they put into the little things that count.

     The music is also quite dynamic. Each level has some ambient music that's played in the background, but there are many occasions where it transitions out. For example if you get seen and the alarm goes off, the music becomes energized and really helps give that atmosphere of panic. And generally I enjoy the music, and how atmospheric it is.

      The art style in this game is amazing and is definitely one reason you should play it.

Final Thoughts:

      For me this game is amazing. There's so much option, and each play play through can be different from the last. There just so many small mechanics that just mesh together so well, and its clear the developers really spent a lot of time building the system. Plus the finale is just amazing, the atmosphere is just amazing.

     This game definitely for me deserves a spot in my top 10 favorite games, and I highly recommend anyone playing it regardless of whatever type of games you enjoy. 

If you asked me i'd give it a  9.5/10

Video Game

This game is fantastically good and a helluva lot of fun, even if the difficulty on the Normal setting is a little unforgiving. The music is fantastic as well and the character and enemy designs are extremely creative and fit the theme of the game superbly. The story can be a little confusing at times, but it all comes together nicely in the end. However, depending on which version of the game you get, it can be either an extraordinary experience, or torture for the eyes. If you decide to get the game, go for the Xbox 360 or Wii U version of the game as the PS3 version is plagued by terrible frame-rate issues making it look awful to watch, let alone play. Plus as a bonus to those that get the Wii U version, Nintendo themed costumes for Bayonetta are also available which alter some minor aspects about the game without affecting the gameplay. All in all though, just avoid the PS3 version.

"The Eyes of Bayonetta" Artwork Book and DVD

Now despite how interesting and informative the artwork books was, the "Making of" DVD actually was what I more interested in. The development process was quite a sight to behold. As it turns out, the main character, Bayonetta, was designed by Mari Shimazaki with the only instruction that she should look feminine. Needless to say that this gave her a lot of freedom and she rolled with it. She wasn't the only one that was given a lot of freedom in her work, just about everyone involved in the game's creative process was allowed to let their imaginative juices flow freely. The way everything meshes together really shows that love and care was put into the game's creation. The DVD is definitely well worth the watch; the dev's personalities show in both their commentary and their work.

Animated Film

Closing Statement

No matter what medium you enjoy Bayonetta in, this first entry in the series definitely had a very strong impact. Bayonetta as a character is probably my favorite female protagonists of all time as well. She is strong, independent, knows that she's sexy and casually exploits that fact in her work, which she also enjoys. If you can get any of these things, definitely go for it, just remember to avoid the PS3 version of the game due to a very shoddy porting process. But until then, I'll be seeing you.

Game Score

Book Score

Film Score

From the start-up I noticed something a little off at first. The theme music was not the usual cheery style that Kirby usually goes for. Instead, it had a more ominous sounding theme, probably to emphasize the fact that Kirby's home world of Popstar is being mechanized and assimilated by the main antagonist of this game: the Haltmann Works Company. This already sounds a bit darker than what I'm used to in Kirby games, but I have an open mind so I decide to give it a pass for the sake of aesthetic composition. I am glad though that the gameplay is exactly what I've come to expect from a main series Kirby game and more. Kirby has the usual abilities that we've come to expect, but he also has the ability to hijack an enemy mech called an Invader Armor to completely wreck house. These mech sections of the game are freaking awesome too. They made me feel like I was untouchable and since the armor is tuned to the abilities of its pilot, it also gains Kirby's ability to copy enemy powers as well. Now while the armor has a slightly different gameplay style, it still retained the simplicity that made the Kirby games so accessible, plus it harkens back to the old Dreamland games where he could ride on the back of an animal friend like Rick, Coo, or Kine.

The visuals of the game are absolutely stunning as well. You'd think just because the game uses the same engine as Triple Deluxe and Return to Dreamland that it would just reuse assets in order to save time on development right? Wrong! Hal Labs went the extra mile and retextured every returning organic enemy and miniboss in the game with a more mechanized appearance to reflect the actions of the Haltmann Works Company. The world's backgrounds are visually impressive as well. Most everything still fits the food theme that the Kirby series is known for, but now its all industrialized to better fit the aesthetic that the game is going for. Strands of spaghetti held up by forks are power-lines, milk cartons are houses, and soda cans are water towers. The music (in the stages) is also pretty catchy too and it fits the Kirby style quite well, but unfortunately most of them aren't memorable enough for me remember how they go without coming back to the game and hearing them again.

Now if you're like me and say that a Kirby game isn't complete without a couple of sub games, well Planet Robobot has got you covered there too. This game has two short, but intriguing, sub games called Team Kirby Clash and Kirby 3D Rumble. Clash is a series of timed boss fights with up to four players and has RPG elements like leveling and job classes. And in order to set it apart from the main game mode, all of the fights are from past Kirby games that didn't return for the main story. 3D Rumble on the other hand is a fully 3D (you read that right) puzzle based game where you need to take out all of the enemies on the screen in the quickest and most efficient way possible. There are no copy abilities in this mode, but it feels MUCH different than the rest of the game. I think Hal should combine these two game modes to make a truly unique Kirby spin-off.

All in all, this entry in the series hit all the right points with me. It was fun, it built upon established gameplay well, the music fit where it was needed, it was incredibly pleasant to look at, and when it pandered to the nostalgic side in me, it was done well enough that it fit in the context where it was presented without sticking out like a sore thumb. Every aesthetic choice that was made for this game was absolutely spot on and I wouldn't change a bit of it. My only real gripe with it though is that it might be a tad too easy, even more so if you use an amiibo or two with it. But considering that it's Kirby, a series explicitly designed to be for people that aren't that good at games or are starting to get into them, I'm willing to let that slide. Definitely pick up this gem (especially if you're a fan of Kirby Super Star), but until then, I'll be seeing you.

Score

Now each one of the first three Crash Bandicoot games are a very specific type of platforming game that I like to call "Tunnel Platformers," because they're basically what would happen if you placed the field of view behind the player's avatar instead of to the side of it (like in Super Mario Bros); This was partly what made Crash Bandicoot so unique. The other part were the numerous and humorous death animations. Luckily these gameplay focuses remain wholly intact, but with a new coat of paint and some minor tweaks and alterations were made here and there to bring the earlier games (1 & 2) closer in style to the later entries (2 & 3 respectively). With the exception of colored gems, you no longer have to do a perfect run of a stage in Crash 1 to get the level's gem. Also in Crash 1, bonus rounds don't permanently vanish after they're completed. In Crash 2, after you unlock your first secret stage entrance you can access it whenever you want by going to the warp room's basement. And finally, all games allow you to do time trials (with online leaderboards) and let you play as Crash's younger sister Coco (after you beat the first boss).

Now all of these additions are very nice indeed, but because this a full-on remake (from the ground up no less) and not a remastering like what the trend has become nowadays, there are bound to be a few things here and there that aren't exactly how they were in the originals. For instance: Crash's crawling speed is slightly reduced, there is a bit of control lag when getting from a standing pose into a crouch after walking or jumping, the ice physics are a bit slipperier than I remember, and Crash's hitbox is tiny bit bigger than what it used to be which makes getting past fire traps all the more difficult. All in all the problems that were fixed causes some new problems to arise thus keeping the games' difficulty around the same as what it used to be.

All in all my time with the game was a lucrative experience. It's not a perfect 1-to-1 recreation of the classic games, but this collection is a damn fine attempt. The gameplay physics are more or less exactly the same as I remember them, the new voice actors do a pretty good job at replicating the feel of the original characters' VA's with some even going above and beyond for selling the role they played, and the new features that were added to Crash 1 and 2 are a great way to breathe life back into a couple of games that were likely played to death. One could even say that this is the Super Mario All-Stars of the Crash Bandicoot franchise. All we need now is a classic Spyro the Dragon trilogy remake, but until then, I'll be seeing you.

Score

First of all, once the game is started it just throws you right into it without pomp and circumstance. You are introduced to a cutscene of Mario engaging in fisticuffs with a sharply dressed King Bowser Koopa as he is abducting Princess Peach in order to force her to marry him. Mario loses and lands unconscious in the monochrome town of Bonneton in the Cap Kingdom and is greeted by a ghostly being resembling a white top hat named Cappy who is in a similar predicament in which someone he cares for, his sister Tiara, was kidnapped by Bowser to be used for his sham of wedding to Peach. He and Mario team up, which grants Mario the ability to possess certain objects, animals and enemies with an action known in-game as "capturing," so they can find a working airship that can chase after Bowser, defeat the wedding planners that Bowser hired known as the Broodals, and rescue Peach from his clutches as he commits grand larceny in several kingdoms so he can obtain only the best quality items to be used in the ceremony. Seems like a lot to take in all at once right here, but trust me it is much easier to follow the plot in the game than from reading my explanation here.

Now as to be expected from a 3D Mario game, Mario has a ton of movement options, but with the addition to his normal running and jumping techniques that have been a staple since Super Mario 64, Mario can also roll into a continuous somersault which can be linked into a long jump and back again, and he can throw his hat to be used as a temporary platform that can be jumped on. All of these movement options coupled with such fluid and responsive controls makes it feel REALLY good traversing the massive kingdoms that Mario must explore in order to find Power Moons, the game's chief collectible and fuel source for the Odyssey, Mario's top hat-shaped airship, and he will need a lot of these moons to power his ship so it can get to new kingdoms. Luckily each major kingdom has more then enough moons to find usually having around 30-50 moons each. In addition to the sheer number of moons, each main kingdom also has either 50 or 100 regional purple coins to collect that can be spent in a Crazy Cap store for special costumes or souvenirs for your ship. Not necessary for finishing the game, but needed for 100% completion.

Compared to some of the other 3D Mario games, this one has one major change that completely changes how the game is approached; There are no more 1-up mushrooms. Instead, every time you die you lose 10 coins and considering that coins are much more important in this game than in previous entries, those unnecessary deaths are much more of a problem now. Luckily though you will never see a game over screen no matter how long you've been playing; no 1-ups means no way that you can run out of lives. In addition to this, coins no longer restore health. Instead, if you are low on health then you will need to find and collect a heart to restore one portion of his 3-HP meter. These new mechanics make the game feel more modern and makes collecting coins fun again without devaluing them considering they are no longer a source of health.

Now my biggest fear before I started the game was thinking that a good chunk of the kingdoms would just once again be rehashed ideas that have been used in many Mario games before. Thankfully, Odyssey only follows this trend to a bare minimum instead using those old design tropes as merely guidelines and greatly expanding on those and turning them into their own thing. Instead of a regular water-themed area, you have Lake Lamode of the Lake Kingdom which is heavily inspired by Greek architecture and French fashion designs; instead of plain lava area, you have Mount Volbono of the Luncheon Kingdom which is all bright colors and low polygonal models; and my personal favorite and what could possibly be considered a fresh twist on the jungle-level trope, New Donk City of the Metro Kingdom: a vertically impressive urban jungle modeled after what could possibly be Times Square of New York City and the classic arcade game, Donkey Kong. Needless to say, I never found myself bored from exploring as there is so much detail in even the smallest things and there is a lot of stuff to do, and it is all condensed into an impressively small 6gb package.

There are just too many good things that can be said about this game. The music is fantastic, it feels really good to collect all of those power moons, the 8-bit 2D segments are a great nostalgic change of pace and don't break up the flow of the game too much, the capture mechanic is ingenious, and the worlds are so unique despite them mostly being the same old stage tropes from past entries. I only have one real gripe about the game, but I'll save that for another article; let's call that one part 2, but until then, I'll be seeing you.

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First off let's recap the lore of the game: Samus is a bounty hunter well known for her heroic exploits against a massive group of interstellar terrorists known as Space Pirates who in turn were most well known for using an alien species known as Metroids as both a bio-weapon and organic energy source. After her climactic battle with them and Mother Brain on the planet Zebes, she became the one the Galactic Federation turned to when things started to become too difficult to control; Think along the lines of a one man SWAT team. After a botched recon mission to the planet SR388 in order to collect a living Metroid sample, the federation concluded that the Metroids were too dangerous to be left alive and called for Samus to commit mass genocide against the entire species. Not overly complicated and just interesting enough to keep your attention.

Now the gameplay is easy to pick up, but difficult to master. You have your usual move, jump and shoot actions plus Samus's unique ability to curl into a ball, but in this entry you have three new abilities that alter the feel of the game quite significantly: free aiming in full 360 degrees, a melee counter-attack, and the brand new Aeion abilities. Aeion let Samus perform special skills like revealing breakable blocks or slowing down time. All of these new abilities are just what the series needed to evolve the gameplay of the 2D entries further. Plus once you get the hang of the melee counter, you feel like a real bad-ass, especially against the larger enemies.

As for everything else in this game, it hits all of the marks I was hoping for a remake of game that did not age well. The music is fantastic and captures the atmosphere of the world extremely well, the gameplay and exploration is top notch and incredibly responsive and I love how many classic abilities make a return with brand new functions like the Spider-Spark and Grapple Lasso, and as for the ultimate goal in the game, it is exactly the same as what it was in the original; slay every metroid on the planet. This can range from relatively easy to quite a hefty challenge, but if you're having trouble you can scan a compatible amiibo to give you reserve tanks or the location of the metroid nearest to you.

Overall, I was initially skeptical about Mercury Steam developing a game in one of my favorite game series, especially after the lukewarm reception that Castlevania Lords of Shadow: Mirror of Fate got from the fans. But my fears were eased when I played the game to 100% completion as this was probably one of the best 2D Metroid games I've played since I first experienced Super Metroid. Nintendo has successfully revived a series I long thought might be forever dormant and I can't wait for more in the coming years. But until then, I'll be seeing you.

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When I boot up the game, I first noticed something that completely threw me off; The "confirm" and "cancel" buttons, which on most controllers is normally "A" and "B" respectively, were swapped. This small detail (even though I could fix it in the options) made me realize that this was not going to be good. The loading times are absolutely abysmal as well. As you all know, this game was in development for three years. Any game that was being worked on for that freaking long should not have loading screens that last for 15-20 seconds, even if it is just so the game can respawn you at your last checkpoint. However the gameplay itself was at least pretty good. It had that simplistic style that you would expect from a Mega Man successor, but with a few things added, such as dashing and the "Xel" mechanic (pronounced cell), to give it a more modern feel. The story wasn't too bad either and I liked the personalities of the other Mighty Numbers, especially Mighty No 6. They gave the game some much needed personality.

How it looked and sounded was an entirely different beast altogether. The stage designs were pretty basic; not exactly bad, but not all that impressive either. The enemy designs were also okay, but they didn't really leave an impression on me. Also, I believe this should be brought to attention; in the Mining Facility stage when you are being chased by the gigantic drill, the FPS drops to an astoundingly horrendous 3-4FPS until I got to the next section. This one instance I encountered is absolutely inexcusable considering the length of the game's development cycle. Another thing I ran into that completely ruined the immersion for me happened in the DLC stage where a piece of the game's script wasn't properly replaced. I wish I could comment on the music though; even at it's maximum volume it was much too quiet for me to hear. This game's lack of polish is so disappointing, and the fact that this game got over $4 Million and it didn't even fulfill all of its stretch goals is a disgrace to the series it was trying to emulate.

Now the extras are a bit of an odd case. Because I purchased the physical version, it came with the Ray DLC and a small artbook. The artbook is nice, but it's pretty short. The Ray DLC adds a new stage for Beck, and a new playable character that has her own unique play style that is VERY different from the main campaign. This is all well and good, but the difficulty of the game was already unfair enough without the additional challenge that playing as Ray provides. The extra challenge missions are also nice, but ultimately they don't really add much as the game can be finished in roughly two hours; the credits alone are almost twice that length! I didn't even bother with the online race challenge and the online leader boards are really unnecessary for a game of this type.

Overall this game had a lot potential and I had fun when the game worked, but unless Comcept ever decides to goes back in and fix every glaring problem it has, I seriously doubt that this game will ever live up to the legacy that is Mega Man. This "Better than nothing" stuff that everyone is saying is just us lying to ourselves. Comcept, AND Inafune, have a lot to learn if they ever intend to make more games any time in the future. But until then, I'll be seeing you.

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