May 6th, 2014
A number of readers have requested that I do a write up on my personal opinion on Wario Land 4. So this post is going to be just that, a bit of an indulgence. But before I out what I think of the game, I want to explain why I’m sometimes reluctant to discuss subjective in my writing.
On the subjective
All my ideas for writing come from my gut. I play a game, feel something, and want to make sense of that feeling. So I take notes and let the ideas stir around in my subconscious for a while, waiting for the eventual click to happen. Sometimes it comes straight away, other times I need to gather more evidence from the game, and every now and then it doesn’t come at all and I’ll try and fill in the pieces by talking to others or doing research. Once the insight hits, I’ll start drafting, which brings some of the implications out and forces me to expand on the details, if I haven’t already. Editing then tightens up the argument, and I’ll be left with a nice summative piece that explains how it is that I came to have that original feeling.
It’s through this process of putting in the hard work to make sense of your opinions that you realise that what you’ve unearthed is far bigger than yourself. In other words, I don’t feel that knowing what I think is half as interesting as having the means to understand what you think.
Of course, opinions are helpful and I have no problems using them in my writing. It’s just that it’s important to keep our ideas grounded for the sake of clarity. I like to think that someone who totally disagrees with my ideas should be able to read one of my posts and understand how it is that I came to form my opinion.
Here’s what I think of Wario Land 4:
- Fiery Cavern is the best level in the game. If that wasn’t obvious enough. It’s in a totally different league to the other levels.
- Hotel Horror is the worst level in the game. My original piece on Hotel Horror was scathing, but when I looked closer at the pathways through the hotel, I realised that it fit in with the “optional challenges” theme running through Topaz passage. So it was nice to have something to say about this level in the end.
- Writing about Wario Land 4 has changed the way I see game ideas and level variation. Base level challenges that don’t develop and don’t play an important function in the game (for example, a break from several difficult challenges) annoy me like crazy. This is why I don’t think much of Hotel Horror and Toy Block Tower. At least Palmtree Paradise has a functional purpose, to introduce the player to the jewel pieces, keyzer, and folded level design.
- I’m a bit concerned about the variation and game ideas in the earlier Wario Land games. I played Wario Land 3 and Shake Dimension last year, so I can talk about these games. Generally speaking I can say that Wario Land 3 is a hodge-podge of unrelated puzzle and platforming challenges and the hub-based level design only gives each level’s four routes a handful of arrangements each, so the overall structure makes it difficult for more sophisticated game ideas to emerge. Shake Dimension‘s levels do have their own gameplay concepts, but they meander and lose their focus.
- I remember when I first saw Wario’s sprite. I thought he looked ugly compared to the more cartoony depictions in prior titles. I still haven’t really made sense of this. I just kind of ignored his sprite as I was analysing the game.
- I like how the puzzles are organised in Wario Land 4. In prior games, you had many simple puzzles break up the platforming. In Wario Land 4, with the GBA making the change for action gameplay, the puzzles are segregated into their own areas and many of them are focused on teaching the nuances of the main mechanics. In this way, the puzzle rooms support the action gameplay nicely.
- I first played Wario Land 4 on the plane to Shanghai. At one point, I had finished almost all the levels, but couldn’t find all of the keyzers and jewel pieces in some of them. I can understand that some people felt that some of these elements were too difficult to find and that they don’t like having to play the levels again to find them, but that’s too bad for them. As we know, the game does a good job of introducing the player to the locks and keys through the Hall of Heiroglyphs and Palmtree Paradise. And if you look at the maps for all the levels, it’s clear that the collectables aren’t that hard to find if you keep your eyes open and do a little exploring. Furthermore, the jewel piece chests are positioned equal ways through each level so that the player should have a sense for where they can find them.
- I dig how the narrative kind of sits in the background. It’s really appropriate for this game because, as I explained in the book, Wario doesn’t care about the Golden Diva and the whole back story of the Golden Pyramid. He just wants the treasure. So the player’s put in a similar position to Wario and is likely to respond to the events in the game in the same way. Equally, there’s enough backdrop given for those who are interested in digging deeper.
- The bosses are all, of course, fantastic. Cractus is my favourite. It was a real puzzle analysing all his different phases and looking for patterns in his design.
- I didn’t even notice that Yurei could pick up coins or take the keyzer until I played through the level a few times. I think I might have written the draft without mentioning it.
- I’m not a Wario nut, but I am very fond of the series, though. Wario Land 4 is my favourite game out of the lot, but it’s not my “favourite game of all time” or anything like that.
There you have it, my opinions of Wario Land 4. I told you it wouldn’t be terribly exciting, but I hope it adds a bit of context to the book. I’m always happy to answer any questions that you might have about the game or series, so if I haven’t addressed something you were hoping I’d cover, then feel free to leave me a comment and I’ll get to it.
May 2nd, 2014
You can find part #1 here.
Fire Emblem Awakening
- Fire Emblem with the edges rounded off. Yusuke Kozaki’s character designs, an expressive localisation, and a streamlining of systems and interface give the game a humanity which is grounded by the core mechanical additions of strategic alignment of units and unit groupings. These two new mechanics are an elegant way of increasing the game’s strategic breadth while anchoring the characters. There’s certainly an aura to Fire Emblem Awakening.
- In saying these things, I’m highly skeptical of Fire Emblem‘s strategy gameplay. After I completed Game Design Companion, I played a number of SRPGs (Fire Emblem: Sacred Stones, Jean d’arc, and Tactics Ogre: Let us Cling Together) and took extensive notes on the genre. At some point in the future, I’d like to write up a complete investigation.
Resident Evil Revelations
- Survival horror operates on the fine balance between resources and threat. In the earlier Resident Evil games, the player had few munitions and limited control over the camera, so even a small group of zombies were dangerous. In Resident Evil 4, the player’s artillery and control over the camera increased, but so did the number of threats. Revelations is a combination of both kinds of horror. Resources are scant, the player can control the camera (although their view, of course, is still restricted—perhaps even more so by the 3DS’s lower resolution forcing a closer perspective), and, in an unexpected twist, the enemies convulse sporadically, making them difficult to hit. From sparse groups, to mobs, to one-on-one encounters.
- My initial reaction was that the combat isn’t very fair, but I probably need more time and research to think this one out. I’m putting my thoughts on hold until The Evil Within comes out.
- The lack of enemy hit-stun is concerning.
- The first person mode is interesting in that it harkens back to the earlier versions of Resident Evil 4.
Final Fantasy: Theatrhythm
- An easier version of Elite Beat Agents with the notes coming in from left to right as oppose to appearing anywhere on the screen.
- Using the bottom screen to respond to notes on the top screen lacks the directness of simply touching the notes as they appear.
- Unlike Theatrhythm, actions in HarmoKnight are more direct because you’re pressing buttons to interact within the game world, as opposed to trying to match up your stylus movements with actions occurring on another screen.
- The cutscenes in this game are so attractive to look at.
- The meaty tutorial is front-loaded at the start of the demo, instead of presented in context when the player needs it. This puts a huge strain on the demo’s pacing and leaves the player with a list of things to remember that they have no conceptual understanding of. Worse still, when the player is later given the opportunity to play around with the game’s systems, the tutorial is nowhere to be found. A simple button on the touch screen would have been suffice. Because of the lack of tutorial, I found it hard to appreciate this game.
- This game is very Matsuno in style, and I’m a big fan, but it’s going to be a pass from me this time.
- The menus are a gorgeous mess. Key information should be prioritised. Everything else should be tucked away.
Project X Zone
Wow. How much time you got? This game is a complete mess . I’m not even going to bother writing about it.
April 28th, 2014
Last Christmas, Santa gave me a 3DS. I’d been hoping I’d get a 3DS because Nintendo had their Super Mario 3D Land promotion going, where anyone who registered their system and a copy of 3D Land would get a second game free. A great opportunity to jump on the 3DS bandwagon, and with a new Mario and Zelda game no less. Unfortunately, the eShop was facing connection issues, thanks to the Pokemon Bank outage, so I waited a few days and then downloaded some demos instead. A few months later and I still hadn’t put my notes up onto the blog. So here’s what I played and what I thought:
Metal Gear Solid 3: Snake Eater 3D
- Wow. This game looks amazing in 3D. It seems that the colouring and visuals were modified to make the 3D effect more pronounced. In any case, I noticed snakes, birds, butterflies, and other creatures that weren’t so apparent in the original (maybe more were added?). The 3D also makes it easier to judge the distance between Snake and a guard. Playing Portable Ops Plus for the PSP recently, I would often bump into enemies or attack before I reached them. So I can appreciate this change.
- The camera controls are awful; however, the menus are easier to navigate with the touch screen, and the nestled CQC d-pad commands and other visual prompts remove the need to remember the layers of input complexity that were problematic in the original.
- The other thing about the bottom screen is that it frees up the interface on the top screen while also adding information that is locked behind the pause button in the original. With more intel available, it’s easier to make informed decisions and remain undetected.
- Overall, the 3DS version is a lot cleaner than the original. When I replay the PS2 game later, I’ll have more to say on Snake Eater.
Playing in the Shade (console version)
- Visual flourish is valued more than function, and to a fault. This is especially true of Playing in the Shade, where the player must keep wind of a fast-moving target and has less time to read the game world.
- In Playing in the Shade, the strict progression shrinks the space for player expression and puts an emphasis on memorisation and reflex skills.
- In Swinging Caves, there’s a locked cage in a secret room. Later, the same cage appears in the final room, representing the end goal. Given that the first cage is in a seemingly secret room, it’s not clear whether opening either cage ends the level or if only the second cage in the final room ends the level.
- It’s neat how the projectiles in the shmup level can bounce off certain surfaces and how enemies can be sucked up and used as ammo.
- The level arrangements didn’t really gel together or build in any meaningful way, but I’d need to play more of the game to make a clearer statement on this.
- It’s odd how the levels use the 3D effect while the loading screens don’t. The game looks kind of blurry overall.
Denpa Men: They Came By Wave
- I only had enough radio waves in my house to catch two other Denpa Men. This made completing the demo quite tricky.
- There’s far too much automation in the battles. This simple game basically plays itself.
Epic Mickey: Power of Illusion
- Starts off the demo with 5 minutes worth of stills and text, and then another minute of text.
- Adding objects only requires drawing the outline, but removing requires colouring.
- The drawing and erasing mechanics, at least in the demo, are only applicable in pre-set situations to open simple locks and aren’t engaging enough on their own. Zelda: Phantom Hourglass put similar mechanics to better use, with varied and deep applications, years ago.
Castlevania: Lords of Shadow – Mirror of Fate
- No cutscenes or text. Just straight to the gameplay.
- I was originally concerned about the lack of spatial dynamics in the combat, but the jump is high and floaty enough that verticality is significant, and there are enemies that require mid-air attacks.
- The combat is more like a 2D God of War than any of the SOTN-esque games. This is good cause those games were stuffed full of arbitrary systems that didn’t greatly support the core combat.
- To rise above hack and slash convention, though, the whip mechanics should be more dynamic, the secondary weapons should mix up the skill set, and there should be more interplay. For example:
- Physics-based whip swinging. Swinging in the demo is single static move. Momentum could be used to swing through boarded up doorways or to knock enemies over.
- The whip should knock things about in the environment. For example, the lamps at the castle entrance. What about other environmental interactions? How could these interactions be tied into the combat?
- The bomb boomerang adds aiming in 2D space and timed detonation with enemy hit-stun. What about the other secondary weapons?
- I like how blocking at the right time opens up an opportunity to counter. How else can back-and-forth counters be facilitated?