Category Archives: Retrograde

Cool Spot — 2Q2019 issue

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A refresh­ing platformer

Every so often there will be a licensed game that’s actu­al­ly worth some­thing. It will have a great sound­track and decent con­trols and not be so obnox­ious­ly unplayable that legions of old­er gamers remem­ber it with a cer­tain hatred that burns deep with­in their soul to be passed down through gen­er­a­tions to come. Cool Spot, licensed from Pep­si part­ner 7UP, is the excep­tion to the norm. If you’re expect­ing a half-baked idea of plat­form­ing sole­ly because it’s a mas­cot, think again. This romp to release sen­tient lit­tle red dots is actu­al­ly not half bad and has genre-redeem­ing qualities.

Cool Spot starts off innocu­ous enough. Spot must res­cue its friends, who are trapped through­out 11 lev­els in cages. Why its friends are trapped, we’ll nev­er know but it’s up to Spot to res­cue them and lec­ture you about not drink­ing dark sodas. Spot’s tra­ver­sal through these 11 lev­els is noth­ing short of amaz­ing despite the ram­pant prod­uct place­ment. It’s sur­pris­ing­ly good, with sol­id con­trols that don’t make con­trol­ling Spot a chore, and com­pe­tent sim­ple mechan­ics that don’t get in the way: It’s most­ly jump­ing and shoot­ing mag­i­cal sparks at ene­mies and barred gates. The life sys­tem — hilar­i­ous­ly denot­ed by an ever-peel­ing and dete­ri­o­rat­ing pic­ture of Spot — is more than gen­er­ous and there are helper pow­er ups galore to get through lev­els. The lev­els them­selves have a lot of depth and are timed just right with enough time to explore or get the bare min­i­mum expe­ri­ence in the search for Spot’s miss­ing friend.

While Spot might be on a prod­uct place­ment-filled jour­ney, it’s a lush­ly drawn trip. Cool Spot is no slouch when it comes to the audio-visu­al depart­ment. The back­grounds are drawn with Spot mov­ing through an obvi­ous­ly human world at about 25 per­cent of the size of every­thing else. It isn’t big at all but the world sur­round­ing it is and it shows in the sheer scale, though my only gripe with the game comes here: The back­grounds, while beau­ti­ful, are recy­cled except for a few stages. At least the first three stages are repeat­ed and reused, just with new stage names and some recol­or­ing in spots.

While you’re soak­ing up the beau­ty of it all, how­ev­er, the sound­track is rock­ing in the back­ground. Cool Spot is one of the best sound­tracks for the Super Nin­ten­do and should be in every gamer’s library. Mag­nif­i­cent pro­duc­tion val­ues, crisp audio and nice, deep bass lines make for some inter­est­ing tracks that don’t sound like stan­dard 16-bit audio. Tom­my Tal­lari­co, pre-Video Games Live fame, put obvi­ous love and care into the audio and it shows. It’s one of the best sound­tracks for its time.

Cool Spot has a lot to offer in the way of good ’90s plat­form­ing. If you can work around the prod­uct place­ment and shilling for the 7Up brand, you’ll find an uncom­pli­cat­ed hop-and-bop with depth and a bang­ing sound­track that’s sur­pris­ing­ly refreshing.

1942 — 2Q2019 issue

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Pacif­ic bat­tles fly in 8‑bit form

Capcom’s warfight­ing 1940 series reminds me of the good times when arcade gam­ing ruled my week­ends and I was for­tu­nate to find some rare gems that lat­er became gam­ing clas­sics. Dur­ing that time, I played 1942 in the arcade and on the NES and walked away from this expe­ri­ence with some valu­able infor­ma­tion: 1. The first game in a series may or may not guar­an­tee future suc­cess; and, 2. The cre­ators of some of our favorite games had to cut their teeth on low-tier games before they received the big breaks that made them what they are today. One of those games is 1942.

1942 is a ver­ti­cal-scrolling shoot­er that takes place on the Pacif­ic front of World War II. You take con­trol of a P‑38 Light­ning plane assigned to go to Tokyo and destroy the Impe­r­i­al Air Force fleet.

Game­play of 1942 is sim­ple: You can move either ver­ti­cal­ly or hor­i­zon­tal­ly. Con­sist­ing of 32 stages, the P‑38 will be chal­lenged by Ki-61s, A6M Zeros, and Ki-48s with a long-range bomber known as G8N as lev­el boss­es. To give the P‑38 Light­ning a fight­ing chance against these planes, it can do air rolls or ver­ti­cal loops. If you time your attacks right, some planes will drop upgrad­ed fire­pow­er or an escort team of two small­er fight­er planes to com­bat the relent­less assault from planes that WILL attempt to knock you out of the skies, espe­cial­ly if you’re just tak­ing off from your air­craft carrier.

While I liked 1942, there are some issues that annoyed me. Tim­ing of move­ments, includ­ing the ver­ti­cal drops and air rolls, must be pre­cise because of the high chance of being shot down by ene­my planes. Also, you must watch for attack­ing planes in front and behind as the Ki-48s are mas­ter­ful at get­ting the unsus­pect­ed into close-area shootouts, which will reduce the num­ber of lives quickly.

The music qual­i­ty of 1942 is an acquired taste as the repeat­ed use of a snare drum made me think that Cap­com phoned in a lack­lus­ter drum beat, which made me turn the vol­ume down to con­tin­ue play­ing. The chal­lenge is decent since you will be on your toes to avoid ene­my fire non­stop. It has strong replay val­ue and would be a great time-killer as a nos­tal­gia trip for arcade vet­er­ans. Also, it’s a great exam­ple for those who want to know how side-scrolling games played a major impact in the gam­ing world.

1942 serves not only as an icon in gaming’s hall of fame but also dou­bles as one of Capcom’s entries into the gam­ing world. It helps that 1942 was the start of look­ing at Cap­com as an up-and-com­ing game com­pa­ny want­i­ng to expand beyond its home of Osa­ka, Japan.

Fun facts:

    • The P‑38, Ki-61, A6M and Ki-48 were actu­al war planes used heav­i­ly in the Pacif­ic Con­flict between the U.S. and Japan. The com­pa­nies who built them — Lock­heed Mar­tin, Kawasa­ki, and Mit­subishi — are well-estab­lished in the defense indus­try and con­tin­ue to play vital roles in var­i­ous areas of aero­space technology.
    • 1942 was Yoshi­ki Okamoto’s debut game for Cap­com. He was also the orig­i­nal game design­er of Konami’s Gyruss. Because of inter­nal dis­putes involv­ing pay, he was fired from Kon­a­mi. After 1942’s suc­cess, Okamo­to remained at Cap­com where he played an impor­tant role in pro­duc­ing Final Fight, Street Fight­er II and Biohazard/Resident Evil. He retired from game devel­op­ment for con­soles in 2012 and is cur­rent­ly devel­op­ing games for var­i­ous mobile devices.

Balloon Fight — 1Q2017 issue

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Fruit­less bal­loon showdowns

The best thing I can pos­si­bly say about Bal­loon Fight is that it’s inno­v­a­tive for its con­cepts at the time. Oth­er than that, this isn’t a game I’d rec­om­mend to any­one beyond the age of 10 and even that’s push­ing it.

The premise is sim­ple: You play as the “Bal­loon Fight­er,” who is tasked with stay­ing alive and defeat­ing ene­mies in increas­ing­ly dif­fi­cult stages. Two bal­loons are attached to the Fight­er and to the ene­mies, and the Fight­er must pop their bal­loons while avoid­ing his own being popped and oth­er obsta­cles such as a large piran­ha, water and light­ning strikes. The Bal­loon Fight­er is fair­ly stout and stur­dy, see­ing as though he can take a lot of bump­ing and push­ing, but if he los­es his bal­loons, it’s a lost life. There are bonus games and a dif­fer­ent mode, Bal­loon Trip, that takes the Fight­er through an obsta­cle course to improve your rank and score. 

This is all fine and well, but the con­trols turn what should be a fun and sim­ple game into a night­mare and a chore to actu­al­ly con­trol. The Fight­er flaps his arms to stay afloat and even with both bal­loons still present, this is extra hard to do and main­tain. More often than not, I don’t lose bal­loons because an ene­my popped them; it’s because I land­ed in the water, was eat­en by the large fish or steered myself unwit­ting­ly into the light­ning I was des­per­ate­ly try­ing to avoid. Pre­ci­sion fly­ing this is not. To get a sense of what it’s like to con­trol the Fight­er, imag­ine if the hor­ri­ble Ice Climbers were fly­ing instead of jump­ing ter­ri­bly up a mountain. 

And while the game is bare­ly playable, the sound­track also man­ages to squeak by in pre­sen­ta­tion. It is a sad day when I declare that a sound­track from Metroid sound direc­tor Hip Tana­ka is irre­deemable. There is noth­ing that makes me want to lis­ten to this, and near­ly every­thing that Tana­ka has cre­at­ed gets high marks from me. The songs aren’t mem­o­rable, there are few songs there any­way, and the lack of var­ied sound effects is dis­con­cert­ing. Add the sound­track woes to an under­whelm­ing graph­i­cal palette and the game over­all is a mess.

Despite the pedi­gree of folks who worked on the game (i.e. Shigeru Miyamo­to as pro­duc­er, Metroid designer/director Yoshio Sakamo­to and Tana­ka), Bal­loon Fight couldn’t be fur­ther away from the qual­i­ty of Nin­ten­do clas­sics I want to play. Bal­loon Fight is rep­re­sen­ta­tive of an old­er era of games that required a Her­culean amount of patience, which I am not pre­pared to give in this day and age where bet­ter games are available.

Bust-A-Move — 1Q2017 issue

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Puz­zle Bob­ble’s break­out hit

Bub­ble Bob­ble isn’t super famous last I checked, but I learned who Bub and Bob were by the time I fin­ished their first puz­zle effort for the Super NES, the mid-90s appro­pri­ate­ly named Bust-A-Move. 

There’s much fun and mirth to be had in the bub­ble-pop­ping title. There’s not much sto­ry oth­er than Bub and Bob are pop­ping bub­bles to save a friend, who is trapped at the end (lev­el 100). Once their friend is saved, that’s it. But, that’s assum­ing you can make it that far. 

Bust-A-Move is incred­i­bly sim­ple to play but hard to mas­ter. The con­cept is easy to under­stand: aim a launch­er and match three like-col­ored bub­bles. The bub­bles will fall off the play­ing field, clear­ing space and rows so that you can work toward clear­ing fur­ther bub­bles. After a cer­tain num­ber are cleared, the ceil­ing of the well low­ers, inch­ing clos­er to a vis­i­ble line. Once the line is crossed with a bub­ble, the game is over. Basi­cal­ly, it’s reverse Tetris with bub­bles instead of lines. The trick­i­ness in mas­ter­ing the game comes in pop­ping the bub­bles. There are dif­fer­ent tech­niques to achiev­ing the results that you want, but it real­ly comes down to know­ing how to aim and learn­ing the fabled bankshot off the side of the well.

With its sim­plic­i­ty in learn­ing, Bust-A-Move quick­ly dis­tin­guish­es itself as fun to play. I request­ed the game for my 14th birth­day, and I’ve had a blast play­ing the orig­i­nal since. There are oth­er games in the series, but this one is the best out of all of the sequels and spin­offs of the series. The con­trols aren’t too stiff, though some­times I have com­plaints about the par­tic­u­lar way a bub­ble bounces or sticks a lit­tle too eas­i­ly to the first bub­ble it comes close to. Yet, the con­trols aren’t horrible. 

The sim­ple theme also shows in the graph­ics. Bust-A-Move is one of the bright­est and cutest games I’ve ever played. The col­ors pop and while you’re using col­ored bub­bles, they don’t nec­es­sar­i­ly inter­fere with the back­ground graph­ics, which could make for a con­fus­ing play field.

Bust-A-Move also gets a nod for its atten­tion paid to oth­er modes such as Chal­lenge and the two-play­er bub­ble pop­ping. Chal­lenge is fun and a good test of skills: You’re tasked with pop­ping as many bub­bles as you can before it’s game over. It’s hard to pop a lot if you’re new to the game, but as your skills progress, you can and will see a dif­fer­ence in how long you man­age to last. The two-play­er mode is fun also, because you can either play against the com­put­er or against anoth­er human play­er. Any game that gives me the option to play two-play­er against the com­put­er auto­mat­i­cal­ly gets a nod because that injects longevi­ty into a title immediately.

There’s a decent amount of depth to Bust-A-Move and it cer­tain­ly makes for an inter­est­ing puz­zle dis­trac­tion on the SNES. It’s worth explor­ing the bub­ble-pop­ping world with the orig­i­nal bub­ble eliminator.

Magical Tetris Challenge — 1Q2017 issue

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When Tetris and Dis­ney col­lide

Mess­ing with an old and uni­ver­sal­ly loved favorite such as Tetris is a risky propo­si­tion. You can get it right or mess it up hor­ri­bly, where it is for­ev­er known as the “messed up ver­sion of Tetris.” Luck­i­ly, Mag­i­cal Tetris Chal­lenge by Cap­com man­ages to dodge that label and add a few ele­ments to the main game to refresh an old­er title.

Mag­i­cal Tetris is, at its core, a fun game with lots of charm to spread around. There are mul­ti­ple modes to choose from and the vari­ety helps the replay fac­tor long after the nov­el­ty of com­bo­ing wears off. The sto­ry mode is the oth­er mode most played at GI, and is based off the new Mag­i­cal Tetris mode. While I’m not fond of the cliffhang­er by dif­fi­cul­ty lev­el method, the sto­ry is ser­vice­able and moves the action for­ward with a nice added Dis­ney touch. Main­stays such as Mick­ey, Min­nie, Don­ald and Goofy fill out the cast, though you can only play as these four.

Mag­i­cal Tetris earns its bread and but­ter in the way it builds on the Tetris for­mu­la. With Tetris in the name and designed to appeal to a mass audi­ence using that, Mag­i­cal Tetris starts out with the basics: Cre­ate and clear lines using sev­en let­ter-shaped pieces. Clear four lines and you get a Tetris.

Ah, but here­in lies the addi­tions to Mag­i­cal Tetris and where the basics end and advanced play begins: For every line cleared, a small amount of ener­gy is added to a mag­ic meter. Fill up the mag­ic meter and you get what we’ve termed at GI as a break­down: All pieces restruc­ture to cre­ate a neat space and a large por­tion of the well where your pieces fall is wiped clean. Also, clear­ing lines cre­ates com­bos, which can be coun­tered until a piece is shaped 10 by 10. Com­bos and coun­ters cre­ates a back and forth, dur­ing which odd­ly shaped pieces are cre­at­ed and fall into the play field. By set­ting up the pieces in a decent shape in your well, you can achieve what is called a pen­tris, or five lines cleared
simul­ta­ne­ous­ly.

Com­bo­ing and coun­ter­ing makes the game­play fun and adds an increas­ing lev­el of com­pet­i­tive­ness and urgency to every match. Even if you’re not the most Tetris-com­pe­tent gamer, Mag­i­cal Tetris does an excel­lent job invit­ing all skill lev­els in to learn and get bet­ter. The basics are quick­ly explained and the advanced tech­niques are made plain as you go along. That helps in the fran­tic atmos­phere of a spir­it­ed two-play­er human match, where any­thing and usu­al­ly every­thing can happen.

The game shines in its visu­als, which ben­e­fit from that Dis­ney touch. The game is bright and col­or­ful and designed in the way of Dis­ney games and ani­ma­tion, mean­ing it’s top-notch through and through. The graph­ics are still good for an N64-era game and haven’t aged bad­ly. The sound­track has aged well, too, and is still one of the best of the era. Each character’s stage is mem­o­rably themed and stands out enough for you to remem­ber it well after your game is over.
Hav­ing played the major­i­ty of the Tetris spin­offs and cre­ations out on the mar­ket for the past 30 years, I need to have some­thing that push­es me to play. Mag­i­cal Tetris suc­ceeds in adding to the Tetris for­mu­la just enough to buy its way in to my library and stick around through charm and abil­i­ty. This is an excel­lent Tetris spin job.

Mario quick hit reviews — 1Q2016 issue

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Super Mario Land
Mario’s first adven­ture out­side of the Mush­room King­dom just hap­pens to also be his first in the portable sphere. Mario Land is a ser­vice­able adven­ture filled with the weird and dif­fer­ent (Tatan­ga, any­one?), but it’s still good Mario. The mechan­ics resem­ble SMB, and the graph­ics keep things famil­iar enough despite space­ships and pyra­mids mak­ing an appear­ance. Keep this ear­ly Mario as an option on the go.

Score: 3.5 out of 5

Super Mario Land 2: 6 Gold­en Coins
Mario’s sec­ond hand­held adven­ture is a step up in terms of … every­thing. There are more pow­er ups, more stages and more ene­mies to take on, includ­ing Wario, who is intro­duced to the world at large here. The six tit­u­lar gold­en coins mean more places to explore and more to do, which is always help­ful in a Mario title. The con­trols get a lit­tle crisper and the graph­ics are gor­geous for a hand­held title. This is one to own, even if you’re not a super Mario fan.

Score: 4 out of 5

Mario Kart: Super Circuit
Mario’s first for­ay into the hand­held kart­ing side of things is a mixed bag. On the one hand, it’s Super Mario Kart final­ly on a hand­held sys­tem. That instant­ly makes it worth check­ing out by itself. On the oth­er hand, the dif­fi­cul­ty and rat­ing sys­tem make it a frus­trat­ing expe­ri­ence. If you’re used to the rub­ber band AI from the two pre­vi­ous titles, you’ll find it well worn here. And good luck get­ting the max num­ber of coins and stars pos­si­ble in the bid to max out the game. But, it’s still decent Mario Kart over­all and the game plays exact­ly like you’d expect. That’s a win­ning attribute that helps sal­vage this race.

Score: 2.5 out of 5

Super Mario Bros. 2 (JP) — 1Q2016 issue

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Super Mario Bros. 2 an uneven, heavy-hand­ed sequel

If there were ever a time when Mario was con­sid­ered not to be fun, this would be it. I have always had a major fas­ci­na­tion with Mario and the Mush­room King­dom, but the true sequel to one of the great­est games of all time made me wish I didn’t go down the rab­bit hole.
At first glance, SMB 2 is your typ­i­cal sequel: Improved graph­ics and new con­cepts, such as the addi­tion of the Poi­so­nous Mush­room. But there’s imme­di­ate­ly some­thing off putting about the game. It’s famil­iar yet for­eign. A lot of the same ene­mies are used and the game has a lot of the same sto­ry-spe­cif­ic ele­ments as its pre­de­ces­sor. The objec­tive remains the same: Save Princess Peach from the invad­ing Koopa army. But this is where things take sin­is­ter and not-so-pleas­ant turn.
I’m not going to beat around the bush: The dif­fi­cul­ty lev­el is not friend­ly. If you didn’t start with Super Mario Bros., stop right now and go back and study up that game. The sequel is designed to be set up and buoyed by the orig­i­nal. If you start here, you’re set­ting your­self up for failure.
The new lev­els were designed to take “super” play­ers to task and show them that Mario isn’t the cake­walk they thought him to be. So, born from that are Sisyphean efforts such as warps that return you to an ear­li­er part of the lev­el; or my favorite: The fact that using lev­el warps at all pre­vents advance­ment to the real end­ing of the game. This is Ghouls and Ghosts before Ghouls and Ghosts.
This frus­trat­ing tac­tic of pun­ish­ing the play­er for being too good is exact­ly why the fol­low up to Super Mario Bros. would have nev­er flown in Amer­i­ca and why we didn’t see the game until a full five years after its release in Japan. Peo­ple tra­di­tion­al­ly play Mario to relax, not be thrown back­ward in a nev­er-end­ing loop of anger and frus­tra­tion. This doesn’t appeal to the mass play­ers and it’s cheap and per­verse that Mario is used in this way.
While it’s not the same Mario in a lot of respects, the same old charm is present. The whim­si­cal jaunt through the Mush­room King­dom is now fraught with all types of dan­ger, but it’s still pret­ty to behold. And the music is still the main act of beau­ty and source of joy in what is a dark skip through the for­est of Mario. Some­how, through all of the anger, Koji Kondo’s mas­ter­pieces nev­er seem to get old.
For the sake of your con­trollers, I sug­gest invest­ing in cheat codes to get through SMB 2. It’s one of the few games I would ever give this advice about to beat. 
We Amer­i­cans might be lazy and unchal­lenged (editor’s note: Nin­ten­do con­firmed that this is the real rea­son why we received the much-eas­i­er-but-still-hard SMB 2 USA/Doki Doki Pan­ic ripoff), but at least our con­trollers remain intact and whole, no thanks in small part to get­ting a far eas­i­er ver­sion of Mario 2. Super Frus­tra­tion Bros. would have been a more apro­pos title for the sequel to the great­est game of all time.

Mario Kart 64 — 1Q2016 issue

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Mario Kart’s grow­ing pains

Mario Kart has always been an inter­est­ing expe­ri­ence. Com­bin­ing go-kart­ing and Mario has and is a recipe for suc­cess for Nin­ten­do, quite hon­est­ly. And, by the time Nin­ten­do got around to mak­ing the sequel to the smash hit Super Mario Kart, they knew they had a sure­fire mas­sive hit on their hands. 
Mario Kart 64 takes every­thing you loved about the first game and immea­sur­ably increas­es it. The Mario char­ac­ters, the tracks, the secrets; every­thing about Mario Kart 64 is bet­ter than the orig­i­nal in every respect. Dri­ving has improved with bet­ter steer­ing qual­i­ties for all char­ac­ters includ­ing the bonafied intro­duc­tion of pow­er­s­lid­ing. Mas­ter­ing pow­er­s­lid­ing means a world of dif­fer­ence in race times, espe­cial­ly when you have brag­ging rights at stake. Old mechan­ics, such as the weight class con­cept, are still present but it seems every­one has a bet­ter rep­re­sen­ta­tion with respect to how a class real­ly con­trols. The light­weights feel like, well, light­weights. The heavy­weights actu­al­ly feel like they’re heavy to handle.
While I’m an admit­ted long-term Mario Kart afi­ciona­do, I have to admit that if you’re going to get into Mario Kart, this is the title to do so with. It’s not hard to pick up MK64 and grasp the mechan­ics. It’s also easy to play with friends who under­stand the nuances of Mario Kart so that you’re not left behind for very long. And it’s the play­ing with oth­ers that makes this one of the best par­ty games ever cre­at­ed. MK64 has Bat­tle Mode as its ace in the hole and it makes it one of the first quin­tes­sen­tial par­ty games, along­side Gold­en­eye, Super Smash Bros. and Mario Party.
With all that it has going for it, how­ev­er, there a few minor draw­backs. First, if rub­ber band AI both­ers you, this is not the game for you. MK64’s AI is one of the worst offend­ers of the rub­ber band­ing prac­tice and it gets worse as you go through the sin­gle play­er race cam­paign. Com­bine that with the pun­ish­ing dif­fi­cul­ty of 100cc and 150cc races and you have a frus­trat­ing, con­troller-throw­ing mess. Sec­ond, this is the sec­ond game after Mario 64 where Mario char­ac­ters are vocal­ized. I promise you will get tired of hear­ing char­ac­ters say their favorite phrase long before you fin­ish any of the modes. It gets old quick­ly and makes one wish they could turn the sound off, except that you’ll real­ize quick­ly that the sound­track is actu­al­ly great. This, how­ev­er, is the game that turned me against Mario char­ac­ters talking.
Mario Kart 64 is polar­iz­ing to some play­ers: Some think it’s one of the great­est kart rac­ing games ever made while oth­ers hate it. I tend to be in the mid­dle; it’s a great entry in the kart rac­ing genre, but there are some fair­ly major quirks with how it plays to throw a wrench into things. I like to think that the fun and the qual­i­ty asso­ci­at­ed with Mario Kart boosts it out of the mid­dle of the pack.

Super Mario 64 — 1Q2016 issue

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Mar­i­o’s great­est evolution 

Most of the gam­ing world would agree that Super Mario 64 is one of the great­est games of all time. I would agree also except for two things: First, the game gives me a tremen­dous headache after about 10 min­utes of play; and, sec­ond, I’m not like most people.
See, where I have a prob­lem with Mario 64 is where most peo­ple don’t have a prob­lem. Don’t get me wrong; I love the leap for­ward that presents itself as soon as you boot up the game for the first time. I was — and still am — in awe of the won­der­ment that is see­ing Mario in 3D after play­ing 2D Mario games for the major­i­ty of my gam­ing career. How­ev­er, I’m not in con­cert with the idea that it’s one of the great­est games of all time. Why? Just because it was the first to ful­ly real­ize a for­mer­ly 2D char­ac­ter in 3D splen­dor? Because it’s Mario and just because it’s Mario? 
No, I can’t form my opin­ion or even include the game in the con­ver­sa­tion of great­est game of all time just because of any of those things. There has to be some valid rea­son­ing and while there are some great points for it, I’m not sold 100 percent.
Mario 64, graph­i­cal­ly, is steps ahead of almost every­thing for the Nin­ten­do 64. Note that I said almost. 
Most games don’t hold a can­dle to Mario in ful­ly real­ized 3D and, even with his polyg­o­nal block style as with most ear­ly N64 games, Mario still looks like a king. Peach’s Palace is inter­est­ing­ly laid out and the graph­i­cal qual­i­ty of the cas­tle still blows away the com­pe­ti­tion 20 years lat­er. Watch­ing Mario run around, run and jump and be Mario but in a non-2D sprite is pure heav­en for Mario lovers like myself. 
But there’s that block­i­ness that I men­tioned before. It’s obvi­ous through­out and can be jar­ring from time to time. And for motion sick­ness suf­fer­ers like myself, the 3D is nigh unbear­able. It’s all I can do not to vom­it after 20 min­utes, so my play­time is imme­di­ate­ly lim­it­ed because of the visu­als. I should not be want­i­ng to vom­it after play­ing a Mario game.
The sound­track makes up for the ill­ness-induc­ing game­play. The sound­track is fan­tas­tic and it’s wor­thy of a main­line Mario game, eas­i­ly. From run­ning around in the plains of Bob-omb Bat­tle­field to tra­vers­ing numer­ous obsta­cles to take on the King of the Koopas, Mario 64 is a dream come true in terms of audio pleasure. 
And, this is, after all, the first com­mer­cial game where Mario actu­al­ly speaks. It’s a joy to hear him squeal and squawk for the first time as he explores the var­i­ous worlds. 
With all of my neg­a­tive sen­ti­ments about the leap from 2D to 3D for Mario, I still appre­ci­ate the mas­ter­piece that is Mario 64. Ground­break­ing and simul­ta­ne­ous­ly frustrating? 
Yes. But it’s frus­tra­tion worth hav­ing even if it takes a tum­ble down my list of great­est games ever.

Paper Mario — 1Q2016 issue

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A ser­vice­able tale on paper

The moment you know Mario has gone on too many adven­tures is when you know you’ve played way too much Mario. Paper Mario, the sequel to the hard-to-top Super Mario RPG, is when I knew I’d played way too much Mario and seemed to expect way too much from a Mario game. The joke, how­ev­er, was on me as I real­ized that an in-depth and long adven­ture await­ed, and a sto­ry was to be told here that need­ed to be told after the high­light of RPG.
Paper Mario starts out much like any oth­er Mario game: The princess has been kid­napped and Mario needs to save her. How­ev­er, there’s a twist in the danse macabre that is Mario and Bowser’s eter­nal strug­gle over Peach. Bows­er has man­aged to get his hands on the Star Rod, impris­ons most of the wish-grant­i­ng com­mu­ni­ty and has lit­er­al­ly abscond­ed with Peach and her court into the sky. This is the point at which you should be say­ing, “Real­ly Bows­er? You just helped save your uni­verse in RPG and you’re back to cre­at­ing prob­lems again?” But, nev­er­the­less, the sto­ry must go on and Paper Mario fills that void nice­ly with an engag­ing tale of team­work and cama­raderie. I was most impressed with the depth of the char­ac­ters and the deft way Intel­li­gent Sys­tems fleshed out the world of Mario and some of his nev­er-before-seen allies who come from all walks of the Mario life. 
Anoth­er impres­sive part of the tale is the tongue-in-cheek humor sprin­kled lib­er­al­ly through­out. Paper Mario isn’t afraid to be self-ref­er­en­tial or pinch off oth­er games when it calls for shak­ing up the rou­tine “Mario saves Peach” bit. 
Spoil­ers ahead: There is a sec­tion that calls for a cer­tain princess to become a vir­tu­al Sol­id Snake-like char­ac­ter and it imme­di­ate­ly calls forth images of Met­al Gear Sol­id. That kind of bor­row­ing is the kind of thing that’s allowed and plays well with­in the con­text that Mario is the king of all that he sur­veys and even in his spin­off titles, he can still run with the best of the best, pay homage and still come out smelling like roses.
In his sec­ond RPG out­ing, Mario still plays just as well as his first attempt in the role-play­ing sphere. Paper looks like and plays out like a sto­ry­book, which is fresh and invit­ing to old diehards like myself. The mechan­ics are sim­ple to learn and are lay­ered enough that an expe­ri­enced RPGer can jump right in and under­stand what’s going on with­out much explanation. 
If you played the first game, con­cepts such as timed defense, timed offense and first hits will make sense. It’s that kind of ref­er­enc­ing that makes the game a suc­cess: It’s easy to pick up and play, regard­less of your lev­el of famil­iar­i­ty with the series’ system.
My main gripe, though, is that the game feels sprawl­ing and slight­ly dis­joint­ed at times. That’s a great prob­lem to have actu­al­ly, but there are times when back­track­ing and the seem­ing­ly end­less sid­e­quests tend to dis­tract from the main goal. Still, I’d rather have that prob­lem than be bored with noth­ing to sup­port the main story. 
Also, as a rather nit­picky side gripe, the final boss fight is one of the most aggra­vat­ing fights I have ever experienced. 
I was eas­i­ly in that bat­tle for half an hour sole­ly because of the boss’ abil­i­ty to heal, not because I was doing any­thing par­tic­u­lar­ly wrong. If, at the end of the bat­tle, I say, “I will nev­er fight this end bat­tle again,” there is a prob­lem there. 
It was as if it was pro­tract­ed and drawn out for the sake of being a hard boss battle. 
My issues aside, though, I had an engag­ing and mem­o­rable time play­ing through and I couldn’t wait to work through a new chap­ter in the saga that was Paper Mario. This is a tale you lit­er­al­ly can’t put down.