The Best Games I Played in 2014

Instead of trying to rank the games I played that were only released in 2014, I decided to take a different approach and include non-2014 games as well. Since I’m not the type of person who is always playing the latest and greatest (in fact, that’s rarely the case with me), I would have been doing a disservice to all of the amazing games I played this year had I not included them.

What I’ve done below is break down everything into A-, A, and A+ categories, and listed the games in the order in which I played them. That way the overall quality of the game speaks louder than the ranking, which seems to always be the main point of contention with internet lists.

Anyway, with that being said and out of the way, let’s get started!

 

Games Scoring an A-

Drill Dozer (Game Boy Advance, 2006) — This is a really fun puzzle/platformer from Game Freak, the company behind Pokemon. I wish they would experiment with non-Pokemon games more often, since I believe this and HarmoKnight (3DS) are the only ones they’ve done, and they’re both good! This game has nice, layered level design and terrific production value, but it has some awkward control issues in some stages that made them more tedious than they should have been. It has expressive animation and upbeat music, and is definitely the type of game that is just aching for a sequel.

Crashmo (3DS, 2012) — Speaking of sequels, this is the direct follow-up to the fantastic Pushmo, which is one of my favorite puzzle games on the 3DS. This one adds several new game mechanics that really switches things up, but Intelligent Systems didn’t do a whole lot with the game’s presentation, choosing to focus more on the puzzles and camera controls. It’s really challenging nd super-polished, but I didn’t stick with it through to the end like I did with Pushmo.

Uncharted: Drake’s Fortune (PS3, 2007) — This was the second time I played through the first Uncharted, doing so this time to experience the story again and to collect all of the artifacts that I missed my first time through. Although its visuals suffer from some rough animation and lack of V-sync, it reminded me of why I fell in love with the series in the first place: it has lots of energy, the characters burst with fun conversational banter, and the story — although a bit ridiculous at times — is entertaining and keeps you going to the very end.

10,000,000 (Android, 2013) — This “match three” puzzle game really surprised me with its RPG-like leveling up system and combat, which made it feel unique in a sea of Bejeweled clones. Its simplistic 8-bit graphics are effective, but sadly, the whole experience is over within a few hours. Although a grind-fest would have made this wear out its welcome, I do wish that there would have been more content to keep me coming back for more. It’s still worth playing, though, and the fact that I completed it really says something, since I rarely finish mobile games.

The Room (Android, 2013) — Did I say I rarely finish mobile games? OK, well, I finished a few last year, including this one, which was very short, but of incredibly high quality. It has a dark, mysterious atmosphere, and while the puzzles aren’t that difficult, everything in the game world has a very satisfying, tactile feel, so I found myself really getting into it, and I didn’t stop playing until I had solved them all. A great paid app that has very nice graphics and sound design.

Broken Age: Act 1 (PC, 2014) — This is Double Fine Productions’ legendary Kickstarter success story. The original scope of what they wanted to do and what they actually ended up with were two very different things, but it’s a good example of how a modest start, huge support, and aiming for the stars can result in a very organic and open game development cycle. While they might be criticized for not delivering on their original vision, I think most people will agree that the end result was worth the wait, and supporters will be getting Act 2 for free when it eventually comes out. It’s a pretty simple, old-school point-and-click adventure game, but it’s made with love, and has some great voice acting, writing, art, and a cliffhanger ending that makes the wait for Act 2 that much more painful.

Batman: Arkham Origins (PC, 2013) — I played all three of the Arkham games last year, and out of those, I thought Origins was the “weakest”. I put that in quotations because it’s still a really darn fine game. It makes solid improvements to boss encounters, and I thought the story was pretty good too. I think it catches a lot of flak for not being developed by Rocksteady themselves, but I thought WB Montreal did a worthy job filling Rocksteady’s big shoes, and the vocal performances by Roger Craig Smith (Batman) and Troy Baker (Joker) do an equally good job replacing series veterans Kevin Conroy and Mark Hamill. It’s more of the same, but that sameness is still very fun to explore and play. REVIEW LINK

Monument Valley (Android, 2014) — Criticized by many for being too easy and too short (and I can’t disagree with that, because it is easy and short), I instead chose to look at it as an example of good visual and audio design. In many ways, it reminded me of Thatgamecompany’s excellent PS3 title Journey, since it has a very solitary — but ultimately positive — feeling and outcome. Out-of-this-world colors, nice animation, and pathfinding that is almost too good, to the point where the game seems to auto-play at times. It might be over in about an hour, but it’s an hour well spent. REVIEW LINK

The Room Two (Android, 2014) — The sequel to The Room, this game took the ideas from the first game and made them bigger and scarier. I liked the more complex puzzle design, but the game felt less intimate and focused than the first game because of its expanded scope. Still, it’s a great example of a high-quality, premium mobile game experience. I can’t wait to see what Fireproof Studios does next. REVIEW LINK

Electronic Super Joy (PC, 2013) — I love difficult platformers, and this is certainly a tough one, without falling into masochistic territory. I love the retro visuals that pulse in time to the absolutely terrific soundtrack. It’s worth playing just for the music, if you like techno and its various sub-genres. It’s a little on the short side with only 40-some-odd stages, but getting all of the collectible stars will give even the most seasoned veterans a nice challenge. It’s really funny at times too. REVIEW LINK

Aban Hawkins & the 1001 Spikes (Wii U, 2014) — After Electronic Super Joy, I continued my platforming kick with this, which was a fun and super-challenging game to get through. It seemed almost unfair at first, but once I got the hang of the controls and the level design, I started to progress through it a lot faster. Some of the later stages almost broke me, but I made it through all the way. Unfortunately, there were lots of audio bugs, and at the time I played it, there was no second screen support, so it felt a little unfinished compared to what I’m used to. REVIEW LINK

LEGO City Undercover (Wii U, 2013) — Earlier in 2014, I finished my first pair of open-world games: Tomb Raider and Grand Theft Auto V. I had heard good things about this one, so with my interest in the genre high, I picked this up and jumped right in. What a game! Although it does suffer from some slow UI and performance issues, it’s still a great game with tons to do, lots of fun humor, superb level design, and some truly standout pieces of music. There are opportunities for improvement, though, so I hope that this becomes a series, because it deserves it. REVIEW LINK

Nier (PS3, 2010) — A strong recommendation from one of my friends finally prompted me to play this. So glad I did, because although the gameplay and graphics are pretty mediocre, Nier delivers characters, story, and music that I can only classify as best in class. It also contains what I believe to be one of the greatest implementations of a New Game+ system that I’ve ever experienced. Truly, the rough parts of the game are worth persevering through in order to experience the rest of it. REVIEW LINK

Monument Valley: Forgotten Shores (Android, 2014) — An in-app purchase for the aforementioned Monument Valley, this expansion takes the simple ideas of that original game and adds a nice layer of complexity based around perspective and order of operations. It’s still a rather short experience at about an hour or so, but its excellent art, sound design, and vibrant colors make a lasting impression on the player.

 

Games Scoring an A

Forza Motorsport 4 (360, 2011) — Over three years old now, and I’m still playing it. Maybe not as often as I did when it was new, but I love Forza‘s approach to career mode, with its fast progression and abundant rewards. Also, despite what the internet would have me believe about its lack of realism compared to Gran Turismo, I just prefer the feel of the Forza series. Plus, the car sounds absolutely kick its competition’s butt six ways from Sunday. No contest there at all. On the flipside, it lacks a truly robust photo mode, and I hate that it requires Xbox Live Gold just to share pictures, but it’s a great package with lots to do and great cars to drive. The Top Gear UK content is a lot of fun as well. As for the Rewind function and braking lines? I love them. Sue me!

The Beatles Rock Band (360, 2009) — It’s crazy to think that it wasn’t that long ago when plastic musical instruments were all the rage. Although I’ve been playing music games since the late-’90s when Konami’s Bemani series was starting to peak, I also got into the newer entries from EA and Activision. I think this Beatles installment is the best one in terms of production value, and its career mode is of surprisingly high quality. I played this quite a bit when it was new, but only played through the campaign mode last year. It’s a journey worth taking for any music or Beatles fan.

Bravely Default Demo (3DS, 2014) — I can’t remember the last time I put dozens of hours into a demo, but I certainly did with this one. In terms of giving the player a nice taste of what’s being offered in the full version, Bravely Default‘s downloadable demo delivered, with several job classes to master, a good chunk of quests to complete, and lots of addictive combat. Plus, you can transfer data to the full game, which is something that more demos need to do. Great art and music, too. I have yet to start the full version, but plan on doing so in 2015.

The Last of Us: Left Behind (PS3, 2014) — It’s a brief and relatively easy experience compared to the main game, but it’s one of the best examples of story-based downloadable content. It delivers fully on the promise of fleshing out an important piece of Ellie’s backstory, to the point where the events that occur in the DLC fundamentally change key sequences throughout the main campaign. It’s done with a level of care and realism that is rarely seen in games. It’s a wonderful achievement that I look forward to experiencing again in the Remastered PS4 version.

Tomb Raider (PC, 2013) — A fantastic action game that marries an open-world structure with some of the best aspects of the Uncharted series. It’s a lot of fun to play with tons of things to discover and collect. Great graphics and good voice acting for Lara herself. The rest of the cast is just so-so, and is diminished even further by the amateurish and completely over-the-top story. This was the first open-world game that truly drew me in, though, and kept me going until I achieved 100%. Lots of nice touches throughout, and I can’t wait for Rise of the Tomb Raider, although I’ll need an Xbox One first.

Thomas Was Alone (Vita, 2013) — This was a freebie with my PlayStation Plus subscription, and while I didn’t think much of it at first, it quickly grew on me, and by the time I was at its final stages, the game had totally won me over with its touching story and characters. Those characters themselves are (at least visually) nothing more than squares and rectangles, but the narrator injects so much life and personality into them that you can’t help but care for them deeply. The commentary track from creator Mike Bithell is the perfect icing on the cake, and provides a ton of insight into the development of the game and its inhabitants.

Tearaway (Vita, 2013) — From Media Molecule, creators of the LittleBigPlanet series, this was the first retail game that I played on Sony’s struggling handheld. It’s absolutely wonderful, with characters and a world created almost entirely out of pieces of construction paper, and uses the Vita’s various functions (most notably the rear touchpad) in fun and unique ways. It loses its way slightly with some of the Trophy-based tasks, which brings to the surface some of the game’s control quirks, but the package as a whole is undoubtedly one of the best games on the system, and it will be interesting to see what the PS4 update (Tearaway Unfolded) is like. REVIEW LINK

NES Remix 2 (Wii U, 2014) — Audiences are split on the NES Remix series, but I love them. They speak to the arcade high score chaser that was apparently dormant inside me until I started playing these games. They are fun, bite-sized challenges that make you think about old games in new ways. Getting the highest rainbow star ratings on each one is a decent challenge, but matching or beating the lowest times on the Miiverse is something else. It’s highly addictive, and the online component is quite nicely integrated. It’s a very good improvement over the original NES RemixREVIEW LINK

Mario Kart 8 (Wii U, 2014) — This is the first in the series since the original Super Mario Kart on the SNES that I have truly had a blast with. Great track design, catchy music, and fun local/online multiplayer. Its DLC is also a very good example of how Nintendo produces some of the best and most consistently high-quality content in the business. I only wish that Nintendo would add a proper campaign or story mode to this series. I know that the majority of players just want to race online, but adding in something more for the single-player crowd would push this series over the top for me.

New Super Luigi U (Wii U, 2013) — Designed as DLC for New Super Mario Bros. U, this is yet another example of how DLC should be done. NSLU takes the stages from NSMBU, cuts the timer down to just 100 and throws in a bunch of new hidden Luigis, stars, exits, and challenges. If it weren’t for the recycled world map and assets, you would swear you were playing a completely new entry. It’s definitely worth playing, as is its parent game, which in my opinion is the best of the New series of Mario titles. REVIEW LINK

Portal (PC, 2007) — This year marked probably the fifth time I’ve played through Portal, and it remains as good as it was the first time I went through it. Sure, the puzzles are easier just because I’ve solved them before, but the dialogue from GLaDOS is still as hilariously terrifying as ever, and the atmosphere remains solitary and unnervingly claustrophobic. I decided to play through it again since I was trying to train myself to play with mouse/keyboard right-handed, but I gave up. I finished the game anyway, just because.

Pokemon X (3DS, 2013) — The first Pokemon game I’ve ever completed! I had actually tried to play through the game earlier in 2014, and made it pretty far in, but it just didn’t hold my attention. With a friend’s son getting Pokemon Y for Christmas, I decided to start over in order to catch some fun Pokemon he might want. Well, something clicked and I got totally hooked. The rest is history as I’ve blasted through two more games and am a trading card fanatic. This game has a cute story, fun world to explore, terrific music, and the metagame aspects for secrets, breeding, training, and other strategies are insanely vast. There are some annoyances with breeding and how grindy some things are, but this still represents one of the best values in handheld gaming. 100 hours in… and counting. REVIEW LINK

 

Games Scoring an A+

Super Mario 3D World (Wii U, 2013) — This is Mario’s first 3D outing on console since 2010’s spectacular Super Mario Galaxy 2, and it’s a memorable one. Although purists have derided both it and the Galaxy games as not being another Super Mario 64 or Super Mario Sunshine, I think it holds its own just fine, and is totally fun from beginning to end. Speaking of the end, the last level will test even the best players with one of the most challenging final stages of the series. Graphics are beautiful, music is a cut above the New series (but a cut below the Galaxy games), and the controls are buttery-smooth and responsive. This game also contains the first batch of Captain Toad levels that eventually would inspire a full retail game.

The Last of Us (PS3, 2013) — Sublime. This, more than any other of the PS3/360/Wii generation, successfully combined a touching story, consistent characters, fun gameplay, awe-inspiring visuals, and a beautifully melancholy soundtrack to deliver one of the — if not the — best overall experiences in recent memory. Are there flaws? Sure. Performance can take a hit, I had a couple soft crashes here and there, and some of the collectibles are incredibly obscure, but they don’t hold the game back. Easily one of the best ever made, and absolutely essential for anyone who appreciates the craft of games as a vehicle for refined and engaging storytelling. It’s a game that stays with you long after you’ve turned your console off.

Uncharted 2: Among Thieves (PS3, 2009) — I don’t know what happened at Naughty Dog between the first Uncharted and this one, but they definitely went Super Saiyan with Uncharted 2! It’s a monumental improvement across the board, from its technology and jaw-dropping set pieces to its storyline and atmosphere. Visually, the game is a stunner, with major improvements to animation, scenic depth, and texture quality. Combat and gunplay have never been Uncharted‘s strongest areas, but they get the job done and can be highly rewarding for those who play online. This is my second time through Uncharted 2, this time playing it to get all of the collectibles. A superb experience, five years later.

Grand Theft Auto V (PS3, 2013) — I’m rather ashamed to admit that I’ve never finished any of the GTA games. That is, until this one. I’ve never cared for the series, mainly because the controls never felt good to me, but Rockstar got things pretty right with GTA5. I fell in love with the game pretty early on, and it wasn’t even because of one of the three main characters. It was Franklin’s friend Lamar, voiced with hilarious verve by Slink Johnson. The scene is clear as day in my mind as they’re at the car dealership with Simeon… and the rest is history. The game was entertaining from beginning to end, with the multi-day heists being one of the game’s highlights. Beautiful graphics, terrific banter between the characters while driving, funny gags all over the place, and like most open-worlders, so much to do that it could take months of solid play to 100%.

Batman: Arkham Asylum (PC, 2009) — I had tried to start this twice in the years prior to 2014, but never did get too far either time. Not sure why, but this year, it stuck, and stuck hard. This is an instant classic, with a very smooth and intuitive combat/combo system that quickly becomes addictive. Chain hits together and finishing thugs with the big hits are satisfying in the best bone-crunching way. The voice acting is top-notch across the board, employing two series greats, Kevin Conroy and Mark Hamill as Batman and Joker, respectively. One of my favorite aspects of the game was the various recordings you find throughout, which fleshes out character backgrounds and lore of the Batman world. As a relative newbie to the franchise, these were very helpful and got me into it. This is a must-play for action and comic book fans.

Batman: Arkham City (PC, 2011) — Immediately after finishing Arkham Asylum, I jumped into this. Taking the ideas of Asylum and expanding them into a larger, more traditional open-world structure made for one of the best experiences with so much to do. Some may argue that it’s more of the same or isn’t focused enough, and that’s fine, but it doesn’t stop it from being one of the best games out there. One of my favorite passages from the game involves Mr. Freeze, whose name unfortunately conjures up images of Arnold Schwarzenegger from the 1997 fiasco Batman & Robin. Mr. Freeze’s story here is touchingly told, and cements him as one of my favorite Batman characters. The ending gets crazy over-the-top (and not in a good way), but the game is still ace. Arkham Knight this year!

Shovel Knight (PC, 2014) — Speaking of knights, Yacht Club Games’ Kickstarter success story was easily one of the best side-scrolling platformers I played in 2014. Its visuals and music exist somewhere between 8-bit and 16-bit, with fluid animation and a soundtrack to die for. The game — at least during its first playthrough — skews a little on the easier side, but there is so much to discover that it’s good that the developer took this approach. The entire package just oozes high quality, with a unique risk/reward continue system and a story that is surprisingly heartfelt. I loved every minute of this game, and all I can say is that I hope we get a sequel.

Volgarr the Viking (PC, 2013) — Perhaps the biggest surprise of the year for me was this game. The result of another successful Kickstarter, Volgarr is a hardcore side-scrolling action game that can seem overly punishing, but if you stick with it, you’ll discover — like so many others have — how amazing it really is. The controls seem stiff initially, but that’s only because they are 100% predictable, so once you accept that, it makes learning and traversing each stage much easier. I died so many times, but when I finally beat the game, it felt like the greatest thing ever. The animation is really good, as is the soundtrack. The backgrounds? They’re just OK, but they don’t detract from what is otherwise a definitive arcade-style experience.

Bayonetta 2 (Wii U, 2014) — If I was forced to pick, this would be my overall Game of the Year. Developed by Platinum Games, it’s a small miracle that we even got this sequel in the first place, so props to Nintendo for helping make it a reality. The first Bayonetta was a good game that I enjoyed quite a bit, but the sequel just trounces it in every way. Its vibrant visuals sparkle, and lack of screen tearing gives the game a nice visual polish it lacked on the 360 and PS3. Combat feels faster, smoother, and more impactful than ever, and the worlds are full of secrets, challenges, sweet music, and gorgeous vistas. The story is your typical action game nonsense, which is unfortunate, but Bayonetta 2 doesn’t suffer because of it, and triumphs on all of its other strengths. This is the action game of this generation so far. You need a Wii U to play it, but to be perfectly honest, I have to say it’s worth it.

 

And there you have it.  All of the best games that I played last year. Agree? Disagree? Have favorites of yours that you want to recommend? Please leave them in the comments — I’d love to hear from you!  Thanks for reading, and here’s a toast to the games of 2015!

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Review: Bayonetta 2 (Wii U, 2014)

I’m just going to get this out of the way right now: Bayonetta 2 is my Game of the Year for 2014. No other title in recent memory has captivated and entertained me as much as this one has, and that’s saying a lot since (a) I only started playing the Bayonetta series about a month ago, and (b) I usually don’t care for third-person brawlers like God of War and Ninja Gaiden.

Not only that, but I didn’t really love the first Bayonetta, either. Yes, I gave it a B+ in my review, and I enjoyed its style and deep combat system, but there were a number of things I didn’t like, including the lengthy on-rails shooter stages, boring mini-games, flat colors, and endlessly wordy cinematics. While some of those things have carried over to its sequel, they’ve been stripped down and polished to a brilliant shine, resulting in a game that delivers a perfectly paced experience from the heavens. Or hell, if you prefer.

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The fact that we even have Bayonetta 2 in our hands is a bit of a small miracle. With Sega not able to take care of publishing duties this time around, Nintendo was the only company willing to step in and take a chance on it. Announced as a Wii U exclusive back in September of 2012, it immediately angered Xbox and PlayStation supporters. I remember being floored by the announcement, at first confused by the Wii U being its one and only home, but then excited that Nintendo did something that surprised so many people. As a company known for publishing mostly their own E-rated games, having the sultry Bayonetta grace their new system definitely made a big impact. Most importantly, though, it gave the Wii U a serious action exclusive that can’t be played anywhere else.

Over two years have passed, and the wait was so worth it. From its opening moments, Bayonetta 2 exudes quality. The first thing that jumps out at you is the new, brightly vibrant color palette, replacing the dark, muted tones of the original. Everything pops and shines beautifully, with stylish cinematic sequences and an in-game framerate that does its best to maintain 60fps. It drops regularly due to the sheer amount of on-screen detail and chaos, but in my opinion, it’s not bad enough to be a detriment to gameplay.

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There is no screen tearing or v-sync issues to be found here, which was one of my biggest gripes with the first game’s graphical presentation, even with the superior Xbox 360 build. As a result, each frame of Bayonetta 2 is complete and an absolute treat for the eyes. The same qualities carry over to the free version of Bayonetta that comes packed in with its sequel.

Speaking of that pack-in, it’s not just a simple port, and includes extras like the Japanese language track, Nintendo-themed costumes, faster load times, easier difficulty settings, and better performance. By all accounts, it’s the definitive version of Bayonetta until a possible remaster is ever developed. The inclusion of the original game not only adds value, but is also helpful for Wii U owners who have never played the first one, giving them an opportunity to see how it all started, and provides a baseline on which to compare its sequel.

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And make no mistake, Bayonetta 2 is superior to its predecessor in every conceivable way.

Gameplay is sublime and feels even better than the first game. It’s the core of what the series is known for, and Platinum Games has taken what worked so well nearly five years ago, and has made it feel even more responsive, exciting, and fluid. New features such as the Umbran Climax, which takes Bayonetta’s attacks and powers them up like a string of fighting game super moves, gives encounters an even more impactful and visceral feel than before. They’re so crazy that they can sometimes obscure the action, so be careful: They can be a double-edged sword if you are playing to achieve perfect playthrough status.

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Controls are intuitive and responsive, with a heavy focus on dodging enemy strikes. Well-timed dodges will make the player enter what is known as Witch Time, which will slow down the action, temporarily make Bayonetta invincible, and allow her to build up her score and combos. The Dodge Offset technique also makes a return, which allows you to continue a combo string even after you dodge, as long as you’re holding down an attack button. Additional moves, weapons, items, costumes, and accessories can be purchased from your pal Rodin, found, or alchemized to further deepen your already robust arsenal.

The Angel Attack minigame has been completely removed, and the drawn-out driving and flying stages have been replaced by shorter, more focused sequences, one of which conceals Bayonetta 2‘s most famous Nintendo easter egg.

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Long-time fans of Platinum Games will be right at home with the scoring and ranking system here. Most of the game’s Chapters are broken down into multiple Verses, and each Verse is given a rank based on your combo, time, and damage results. Achieving a full combo, fast time, and zero damage in a Verse will result in a Pure Platinum ranking, the game’s highest award. For hardcore players, getting Pure Platinum across all of the game’s difficulties — including the highest Infinite Climax setting where Witch Time is disabled — will be the ultimate goal.

For many other players, experiencing the game’s story, characters, enemies, and environments will provide more than enough entertainment. While the story itself will give continuity error and plot hole seekers a lot to sink their teeth into, it does a decent job of building characters relationships and motive. Unfortunately, like Bayonetta 1, many of the cinematic cutscenes are still overly wordy, and more often than not, I found myself rolling my eyes at the awkward dialogue and unnecessary exposition, complete with forced cursing.

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On the flipside, the action cutscenes are stylishly executed and a lot of fun to watch. They are all done in-engine, with the more highly detailed models rendered in 30fps, and gameplay versions output in 60fps. Quick Time Events (QTEs) are still a part of these sections, but they have definitely been toned down from the first game, and feel less intrusive as a result.

As before, sound effects play a big part in Bayonetta 2‘s gameplay, and in conjunction with bright visual indicators, cue the player in on when an enemy attack is being delivered, prompting you to dodge. Some of these attacks are easy to avoid, while others require near-superhuman reaction times. Focusing on these is key to Pure Platinum rankings, and your survival in general. One of the most rewarding feelings in this game is focusing through all of the insanity around you, and in a zen-like way, successfully finishing a Verse perfectly.

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The music in Bayonetta 2 is as atmospheric and kinetic as the game itself, and like its predecessor, delivers a memorable selection of tunes that span a number of different styles. One of the highlights is a great upbeat version of “Moon River”, which is simply a perfect song selections for Bayonetta. Unlike “Fly Me To The Moon” from Bayonetta 1, “Moon River” is sparsely used, having a greater impact when you do hear it.

In closing, I had a blast with Bayonetta 2, and continue to do so, weeks after finishing it. There is just so much to do, find, collect, and conquer here, and it will keep action fans busy for a long, long time. It’s not only one of the best action games to be found on the Wii U, but is without a doubt one of the best action games ever made.

  • Graphics & Presentation: A-
    Vibrantly beautiful colors are a major improvement over the first game. Animation and special effects are big and impressive, including the new Umbran Climax and returning Climax finishers. No screen tearing, but performance overall is a bit worse than before. Story is OK, but like Bayonetta 1, it won’t be winning any writing awards.
  • Music & Sound Effects: A
    An excellent soundtrack brings the world of Bayonetta 2 to life, with lots of variety and different styles. Sound effects are helpful and impactful, and both English and Japanese voiceover tracks are included, even though the dialogue itself can be very long-winded.
  • Gameplay & Controls: A+
    Perfect, responsive, and refined controls make this one of the most exciting and intuitive games I’ve ever played. Lots of secrets, collectibles, post-game challenges, and online play will put the most experienced players to the test.
  • Value: A+
    The first game is included for free, and not only completing, but mastering all the game’s difficulty settings will take any player a very long time to achieve.

Overall: A+

 

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Review: LEGO City Undercover (Wii U, 2013)

When Lego City Undercover was originally announced back in 2011, I brushed it off as a gimmicky Grand Theft Auto wannabe for kids. It didn’t help that I was already feeling let down by the Wii U after its disappointing E3 debut, where Nintendo seemed to be completely out of touch with reality and the rest of the industry.

The years since then have been a very different story for the console, having built up an excellent library of games, including Super Mario 3D World, EarthBound on the Virtual Console, Mario Kart 8, and this exclusive from Tt Fusion and WB Games.

2014 has been a good year for me and open-world titles. Tomb Raider, Batman: Arkham City, and Grand Theft Auto V are among the sandbox-style games that I’ve played and put extensive time into, and I’ve loved them all.

Like I said, I had initially ignored Lego City Undercover, but I had also seen the very positive reviews and forum threads on it, and figured now would be a good time to see what it was all about.

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And I’m so glad I did! Lego City Undercover is one of the most purely fun games I’ve played on the Wii U, providing a wealth of variety and challenge for gamers of all ages.

Its format will be familiar to fans of open-world games. While there is a main storyline full of special missions and unique environments that keeps you moving forward through the game world, it is primarily comprised of a giant, living city that you can explore freely.

What I like about Lego City Undercover’s gameplay is that it blends together the vibrant feel of Grand Theft Auto V with the structural, dizzying traversal of games like Uncharted and Crystal Dynamics’ Tomb Raider from 2012. It also does so through humor, creative design, and violence that doesn’t go beyond that of typical Saturday morning cartoons.

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Like many other of its genre peers, collectibles are a big part of the gameplay. Not only will you be picking up a large supply of Lego bricks in order to build things, but you’ll also need money to unlock most of the game’s characters, vehicles, and special abilities.

That’s actually something I don’t like about Lego City Undercover’s design. You spend a lot of time finding all of these collectibles, but there is an additional step required, where you have to go to your home base to unlock each one individually for use within the game world.

I hope that if a sequel is developed, that unlockables can be used immediately once you find them. Compounding this problem is the actual unlocking interface, which is slow and unresponsive.

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Then there are the load times, which can last up to a minute and a half. These occur pretty often, especially later in the game when you’re going back and forth out of levels collecting all the things you missed your first time through.

I consider myself to be a pretty patient player, but Lego City Undercover’s long, non-interactive loading screens definitely tested me. I give these a bit of a pass, however, since this is one of the Wii U’s earlier releases, so I’m sure if given the time, Tt Fusion would have been able to implement better streaming/preloading technology and get a better handle on the hardware architecture itself.

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Graphically, the game looks very good, with excellent draw distance, nice environmental detail, and a decent framerate. It does often dip below 30fps, but given how much is being displayed on-screen, its performance hits aren’t entirely surprising.

There are some inconsistencies in quality when it comes to texture detail too, but for the most part, the game looks nice, and particularly shines during special missions and Super Build sequences, which show various structures being built brick-by-brick.

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In terms of audio, Lego City Undercover gets most things right. The voiceover work is wonderful, with some sound-alikes that are pretty close to the real thing, like Morgan Freeman and Joe Pesci.

Music is also good, with a ’70s funk soundtrack that fits the story and style of the game perfectly. Additionally, there are some licensed tracks, and the music for the final stage is particularly amazing.

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What’s bizarre, however, is the complete absence of music during most of the game’s open-world and driving sections. Fans of Grand Theft Auto and other open-worlders have become accustomed to different radio stations to listen to, and driving around Lego City without a single chord of music makes these sections feel sterile and incomplete.

It’s a giant missed opportunity, in my opinion, but on the flipside, because of how long it will take to 100% this game, maybe not having a repeating soundtrack during these segments is a blessing in disguise. It’d be nice to have the option, though.

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The Wii U GamePad is put to good use in Lego City Undercover, and like The Legend of Zelda: The Wind Waker HD, it’s nice being able to use it as an interactive map and resource without having to pause.

It’s also used throughout the game to set waypoints, check in on your overall progress per area, listen in on conversations, and uncover important clues. It works pretty well, but I found myself feeling rather silly on multiple occasions holding the GamePad up in the air, spinning in my chair looking around the room. If a sequel is produced, it’d be nice to have the option to just use the thumbsticks for this functionality.

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There is a lot to do in Lego City Undercover. While the main campaign will take most players about 15 hours to complete, it will easily take triple that — if not more — to 100% it.

The great thing is that most of those additional tasks are fun to do and discover. They usually don’t take that long to complete either, and abilities like fast travel, ability boosts, scanning upgrades, and other enhancements make the collectibles a joy to uncover.

The game does a great job of keeping track of what you’ve found, but don’t be surprised if you find yourself pulling your hair out trying to find that last character token in a given area. Try your best to avoid FAQs, since the game is at its most rewarding when you solve the game’s various puzzles and challenges on your own.

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I had a great time with Lego City Undercover. While it doesn’t have the spectacle, controversy, or production value of similar open-world games, it’s certainly one of the most enjoyable in the genre, providing laughs, solid gameplay, varied locales, and no shortage of things to discover and do. I highly recommend it.

  • Graphics & Presentation: B+
    A believable world full of colorful characters, environments, and creative Lego structures. 30fps for the most part, with framerate dips when the screen gets busy. Nice animation, depth, and a fun story that will keep you going until the very end.
  • Music & Sound Effects: B
    A fun ’70s soundtrack with some licensed tunes as well. Excellent voice acting, good sound effects and believable ambient fill. No music during most of the open-world and driving sequences makes those parts of the game feel dull, so hopefully a more robust radio setup makes its way into a sequel.
  • Gameplay & Controls: A-
    The world is a pure joy to explore, and the controls are solid. Some platforming and judging of distance is vague, but with unlimited lives and convenient retry features, it’s rarely an issue. Grand Theft Auto could learn a thing or two from this game’s flying controls, which are wonderful. Tons of gameplay variation and abilities will keep you  going long after the credits roll.
  • Value: A+
    It will take about 15 hours to get through the main storyline, but 60 is more likely to 100% it. Tons of collectibles and post-game content will keep you going for days, if not weeks, after you finish it. Lego City Undercover represents a tremendous value.

Overall: A-

 

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Review: New Super Luigi U (Wii U, 2013)

New Super Mario Bros. U is my favorite side-scrolling Mario game since 1991’s Super Mario World. And yes, that includes Yoshi’s Island, which is a game I enjoyed and completed, but stopped short of achieving 100% in every stage.

The New series of Mario games got its start back in 2006 on the Nintendo DS. It built off of the series’ past successes on the NES and Super NES, and marked Nintendo’s return to classic, side-scrolling 2D gameplay. The world was ready, and so was I.

20140926_nsmb_dsUnfortunately, I didn’t really care for it. Something about it felt off, and at least on the DS, I didn’t like its low-fidelity visuals and sterile design. In fact, it took me close to six years to finally finish it, and that’s mostly because I wanted to have a baseline on which to compare its three sequels.

Thankfully, New Super Mario Bros.‘ follow-ups — New Super Mario Bros. Wii, New Super Mario Bros. 2 on the 3DS, and New Super Mario Bros. U — are all superior, with the Wii and Wii U versions being my favorites.

The 3DS game looked and played well enough, but I thought it was way too easy with watered-down design.

nslu_boxAfter completing and thoroughly enjoying New Super Mario Bros. U, I didn’t immediately purchase its Luigi-based DLC. I thought $20-30 was too much to pay for what was in my mind just some remixed levels starring Luigi. I had this idea in my mind that if Nintendo was able to put all of the extra Luigi content in a game like Super Mario Galaxy 2 for the original asking price, why were they charging so much extra for this?

Now that I’ve played through this game in its entirety, in hindsight, that opinion can only be seen as my own ignorance.

New Super Luigi U is a great game. Although it is technically DLC — and it requires New Super Mario Bros. U to function if you buy it digitally — it plays like a brand-new game, full of new ideas and challenges.

Oh, and I did buy the physical version, which does not require the original game. Plus, you gotta love that green case!

Anyway, Luigi U borrows its graphical and musical assets from its parent Mario game, and it also has the same world map, but the levels themselves have been completely redesigned, and you are now at the mercy of a reduced timer that starts at 100 instead of 400.

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You not only have to contend with less time, but with Luigi’s drastically different controls and physics. He jumps much higher now, can float in the air momentarily, and has a tendency to slide around like a wet noodle, so unless you’re just a platforming natural, it will take some time to get used to these changes.

You will be frustrated on many occasions as your attempts to grab items, dispatch enemies, dodge environmental hazards, and collect the three special Star Coins in each level, will lead to your death. But once you get used to it, this becomes an absolute blast to play.

Levels are shorter, there are no checkpoints, and extra lives can be scarce when you most need them, so the game remains challenging from several different perspectives. That’s a rarity in modern game design.

You will also have to chase and catch Nabbit from time to time, which is fun and necessary to do if you want to attain 100% completion status.

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Graphically, Luigi U is beautiful to look at, with all of the subtle touches and artistic brilliance that adorned New Super Mario Bros. U. The highlight here, however, is that there are hidden Luigis all over the place. They are sometimes obvious, but many of them are cleverly hidden or blended in with the backgrounds. These are all fun to find and uncover, and since they are often found near a Star Coin, their discovery becomes that much more meaningful.

The game runs at a rock-solid 60fps at 720p resolution, and I don’t remember seeing a single bit of slowdown. The New style has been controversial for close to a decade, and you either love it or hate it. I think it looks its best on the Wii U, with crisp design, silky-smooth animation, tons of depth, and gorgeous environmental effects.

On the audio side of things, it’s… New Super Mario Bros., which is to say it isn’t all that memorable. When you compare it to something like Super Mario Galaxy, you can’t help but feel like the New series simply plays it too safe in the sound department.

It’s whimsical with some standout tracks, but for the most part, it’s derivative and not a soundtrack I’d listen to when I’m not playing the game. On the flipside, Luigi U‘s sound effects are crisp, classic, and full of a variety of voice samples. They’ve gotten to the point where they sound totally natural, as opposed to how awkward they were when Nintendo shoehorned them into the Game Boy Advance titles.

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Getting back to that time limit I mentioned earlier, I wish this game had better Miiverse and ranking integration. While you can manually post your times, a more traditional and automated leaderboard system would be great.

It would also be fantastic if for the next game, they add in Miiverse replays like the ones in NES Remix 2. As it is now, the Miiverse comes off as mostly negative, since the majority of the posts you’ll see will be from frustrated players who have died at various points throughout the game.

Another small complaint is how long it takes to retry a stage after you die, which takes about 12 seconds each time. I wish it would just ask me if I want to try again instead of kicking me back out to the world map only to turn around and go right back in. It doesn’t take too long, but it takes just long enough to be an unnecessary nuisance.

Finally, something that would make this game even better is having the gold flag requirement, like in Super Mario 3D Land (3DS) and World (Wii U), or introduce a Rainbow Stars requirement for each stage, like the NES Remix titles. This game already has a lot of replay value, but these would put it over the top, and reward repeat efforts.

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All in all, I had a great time playing New Super Luigi U. As someone who absolutely loved Mario’s first outing on the Wii U, playing through this world again with completely different levels and character physics was a welcome challenge that at times pushed my abilities to their limits.

How Nintendo will top this brotherly combo is something that’s hard to imagine. New Super Luigi U represents some of the finest in Nintendo 2D platforming.

  • Graphics & Presentation: B+
    You either love or hate the New style, and while I’m not a big fan of it, Nintendo has definitely improved upon the handheld and Wii installments with lovely backgrounds and animation to die for. 60fps 720p shows how Nintendo’s flagship franchises can shine in HD.
  • Music & Sound Effects: B
    Mario Galaxy and 3D World this is not. The soundtrack is solid, but it relies too heavily on past melodies and influences. Themes like the underwater one are superb, but the standouts are the exception rather than the rule. Excellent sound effects and voice samples bring the characters to life.
  • Gameplay & Controls: A
    Luigi feels really loose at first, but they become second nature after several stages. It’s fun to collect the Star Coins, Hidden Exits are tricky, and all of the secret Luigis strewn throughout each world will make you smile. Platforming can be super-tough and the game isn’t overly generous with 1UPs.
  • Value: A
    It will take about 15-20 hours to get through this. Compared to most DLC and season passes, $20-30 sounds like a lot, but given how much content there is, it represents more than you’ll get out of a lot of $60 purchases. Going for perfect, no-hit runs will keep speedrunners coming back for more.

Overall: A

 

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Review: Nintendo Wii U Pro Controller (PC)

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The Wii U Pro Controller is an interesting beast. It gets a lot of things right, but it also misses the mark in a few key areas too.

I bought one almost immediately after purchasing a Wii U back in October of 2013. Like many other owners, I was feeling rather paranoid about the GamePad breaking, so I wanted the Pro Controller to use for anything that supported it. I’ve used it for most of the games I’ve played on the console, including Super Mario 3D World, New Super Mario Bros. U, and Mario Kart 8.

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Due to the fact that I did buy it almost a year ago and am only reviewing it now, I don’t have the packaging to show you. It does, however, come wrapped in protective padding inside a box, and is not simply sealed in a blister pack.

Most notable is the fact that unlike the DualShock 4 and Xbox One Wireless Controllers, the Wii U Pro Controller includes a mini USB charging cable. It might seem silly to call this out because of how cheap USB cables are, but it’s thoughtful of Nintendo to include one.

Finally, this controller streets for about $5-10 less than its competitors, so that’s another nice benefit.

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That lower price is good, because if you are thinking of using this controller as a PC gamepad — which is what this review focuses on — you’ll want to spend about $15 to get the Mayflash Wireless Wii U Pro Controller to PC USB Adapter from a retailer like Amazon.

It’s a handy little adapter that only takes a minute or two to set up. Just install the drivers from the included 3″ CD-ROM (or download them from HERE), plug in the adapter, sync your controller, and you’re ready to rock and roll.

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The adapter supports both DirectInput and XInput, so select whichever one is best suited for the game or application you want to use.

For most games — especially modern titles — XInput will be what you want, but there may be older applications that work better with DirectInput, so try the latter if you run into any compatibility issues.

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One important thing to note is that in XInput mode (pictured above-left), the Mayflash device maps the buttons to match the Nintendo layout, so instead of XY/AB on an Xbox controller, it’s YX/BA.

I realize that this is more “Nintendo authentic”, but it’s an added hassle for those who just want to use one of these instead of standard 360 pad on a PC. DirectInput (pictured above-right) also has different mappings, so pay attention to your button assignments in your game or application in either mode. Remapping will likely be required via an additional app such as Durazno.

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Getting back to the controller itself, it’s nicely shaped and fits comfortably in your hands. Size-wise, it’s similar to the Xbox One and DualShock 4 controllers. It does feel slightly lighter in terms of weight, but not as dramatically so as some outlets have reported.

I really don’t like the glossy finish, though, which is something Nintendo started implementing last generation on their Wii Remotes. Yes, they look nice, but they’re fingerprint magnets.

Impressively, however, mine hasn’t shown any signs of scuffs or scratches. The finish itself seems to be very durable, as opposed to the smooth d-pad and face button bases on the DualShock 4, which after only a week, already has light scratches.

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The d-pad, analog sticks, and face buttons are all excellent and responsive. They are more or less identical to those found on the GamePad, so transitioning between the two controllers is easy. Nintendo has had a great track record when it comes to producing controllers with terrific d-pads and buttons, and the Pro Controller is no exception.

The Power and Home buttons sit slightly recessed in the center of the controller so as not to get accidentally pressed during play. The Select and Start buttons are easy to locate, similar to the Xbox One controller.

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The L/R and ZL/ZR triggers also feel great, and I prefer the Z trigger placement more on this controller than the GamePad, although it is a slight bummer that Nintendo didn’t design the Z triggers as analog ones.

On the underside of the controller is the Sync button, which is located in such a way that it would be pretty difficult to accidentally press it.

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Regarding the Pro Controller’s layout, I don’t really care for it. While I totally get that they did it to mirror the one found on the GamePad, they are unfortunately placed in such a way that your thumbs don’t land naturally.

On the GamePad, my thumbs land right on the analog sticks and can be easily moved to reach the d-pad and face buttons. The angles are perfect and they feel great. Honestly, I didn’t think the GamePad would be as comfortable to use as it is.

On the Pro Controller, however, while analog stick placement is perfect, my thumbs — especially my right one — have to strain to get them in optimal position to reach the d-pad and face buttons. I think the problem is that they are spread too far apart.

If Nintendo revises this controller, I’d recommend moving them in closer together and adjusting the spacing on the face button cluster. As of now, the layout feels a bit rushed.

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It’s interesting comparing the Wii U Pro Controller to the one for the Wii. While the Wii version feels like a toy and annoyed me with the fact that it had to be plugged into a Wii Remote to function, it just felt more natural to use.

Again, I know Nintendo had to be consistent between the GamePad and Pro Controller, but as of now, the layout doesn’t translate that well.

In closing, I like the Wii U Pro Controller in terms of overall comfort, build quality, responsiveness, and feel, but I’m not a fan of its “different from everyone else” configuration. While this is not Nintendo’s fault, I also wish Mayflash’s default Windows button mappings were identical to those of a 360 controller. Having them flipped introduces an additional remapping step that makes this controller a solid choice for retro gamers, but not for those looking for a seamless 360 controller replacement.

And even for oldschool gaming, there are other excellent and cheaper controllers and adapters out there. While I can’t recommend this for PC gaming, I do think it’s a good controller for the Wii U that reduces wear and tear on the more expensive GamePad.

For the Wii U: B+
For the PC: C

Overall: B-

 

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Review: Aban Hawkins & the 1001 Spikes (Wii U, 2014)

I love the Indiana Jones films. I’ve probably seen Raiders of the Lost Ark over 200 times, and if you have a couple spare hours, there’s a good chance I could recite the entire movie back to you. Temple of Doom gets a bad rap, perhaps for its lack of locales, Kate Capshaw’s often over-the-top performance, and a violently dark story. Last Crusade is like a love letter to fans, and Kingdom of the Crystal Skull? Let’s just say that film’s like drinking the blood of Kali. I’m still trying to wake up from that nightmare.

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Anyway, Atari’s own Temple of Doom arcade game from 1985 was also a favorite of mine. Remember the nice cabinets for machines like this, Star Wars, and Road Runner? Oh, I loved them. Atari arcade games were among my favorites, and there were just so many! A quick look on Wikipedia shows how prolific they were. 8-bit consoles like the NES were brand-spanking new, and with most folks still playing on aging Ataris, Commodores, and Apples, arcades were simply unbeatable.

And now, nearly 30 years later, it’s interesting to me that the game I’m reviewing today is not only inspired by one of my favorite movie franchises, but is also a throwback to 8-bit home console games of that era. There are a lot of games like this nowadays, most notably the recent Kickstarter success story Shovel Knight, which like 1001 Spikes, taps into the collective nostalgia of the ’80s, and delivers a gaming experience that is as good as — if not better than — the titles that influenced them.

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1001 Spikes began as the Xbox Live indie game 1000 Spikes back in 2011. I’ve admittedly never played that version, and I didn’t even know of its existence before 1001 Spikes was announced. Developed by 8bits Fanatics, I’m glad it has now received a wider release via Nicalis, who has become one of my favorite publishers in recent years.

For those who don’t know anything about this game, in a nutshell, it’s a puzzle-platformer, where you guide your character through short stages full of traps, enemies, and other environmental hazards. You can jump either 1 or 2 blocks high using two separate buttons, and you can throw or slice with your knife. That’s it. The dual-jumping mechanic sounds bizarre on paper, but it’s a great idea that works beautifully during play.

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In screenshots, 1001 Spikes doesn’t look like anything special, but I found it to be quite beautiful in motion. Animation is smooth, there is a a good deal of parallax scrolling, and background/foreground separation is very clear. Characters and enemies are comprised of very few pixels, but they possess a ton of character, with funny idle animations that further the game’s charm.

Music is also very good, but the Wii U version that I played is chock-full of annoying audio glitches. Sometimes the soundtrack will exhibit intermittent popping, and at others it will skip like a badly scratched CD (which you can hear at the 3:06 mark in the video below). A few times, the music stopped completely altogether! It’s very buggy audio code that really detracts from the overall polish of the game, and I’m surprised it was released in this bad a shape.

Thankfully, 1001 Spikes really shines in the gameplay department. Controls are ultra-smooth and responsive, and there was rarely — if ever — a point during my playthrough where I felt the controls failed me.

While I would sit there and curse the game at how cheap I thought it was at times, it always came down to me making a mistake or failing to remember the location of a particularly well-placed trap. You have very little time to react to most of them, so while I thought that 1001 Spikes had a tendency to rely on memorization more than pure skill as I went through it, it turned out to be a rewarding trial & error system in hindsight. One that I really appreciated the more I thought about it.

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However, it can’t be stated enough: You will die. A lot. More than you’d like, perhaps! It’s funny that they give you 1001 lives to start, but you’ll come to appreciate them as you lose your first hundred, and then your second, and so on and so forth.

Fear not, though, as you are given 100-256 extra lives at the end of each set of levels, so you should be OK. Again, the game is rewarding in the same way that other tough games are. Think of the temples in Donkey Kong Country Returns, or the I Wanna Be The Guy levels from Super Meat Boy. They take many tries to get right, and the rush you feel once you get through them is hard to put into words. It’s highly rewarding, and will keep you coming back for more.

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There are also a slew of unlockable characters, each with their own particular attributes and skills. They really change up the way each level is played, and as a result, they’re very distinctive and unique.

Like many indie games, there is cross-pollination going on here, and you’ll find all sorts of familiar faces from other titles. I won’t spoil the surprise for those who haven’t played this yet, but they bring with them their own stories, which adds a lot of incentive to play through the game multiple times.

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Additional unlockables, including single and multiplayer modes beyond the main campaign also add a ton of value to what’s an already inexpensive $15 package.

These are a lot of fun, and feel easier than the main campaign, so they provide a nice break between some of the intense challenges that await in the game world of Ukampa and beyond.

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Like many retro-styled games of this type, there is a speedrunning element — including an in-game displayable clock — so you can go for the lowest times possible for each level. Curiously, though, there are no leaderboards to be found and zero Miiverse integration, so you have to manually scour the internet to see how good you’re doing.  The best you can do is post screenshots and your times, but a built-in system would have been much better.

While we’re on the topic of oddly missing features, 1001 Spikes cannot be enjoyed via off-TV play on the Wii U. The GamePad only displays the world map during gameplay and remains completely black when you’re in menus. This is the sort of bite-sized game that is perfect for the GamePad, so its omission is surprising. Nicalis has said that a patch is forthcoming that will address numerous bugs and add this feature in, but as of this writing (over two months post-release), there has been no update.

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In closing, Aban Hawkins & the 1001 Spikes is a very fun game, with surprisingly good presentation, multiple endings, and lots of different modes to play. Although some of it feels half-baked at this point on the Wii U, it is still a robust game at its core that delivers a ton of bang for the buck, and is one of the most challenging titles I’ve played in 2014 so far. Recommended.

  • Graphics & Presentation: B+
    Fluidly animated 8-bit sprites, sharp backgrounds, parallax scrolling, and gorgeous cutscenes give 1001 Spikes a wonderfully nostalgic look. No off-TV play is a big miss, however, especially when the game doesn’t require any GamePad-specific functionality.
  • Music & Sound Effects: B-
    A solid chiptune soundtrack and good sound effects convey the protagonist’s dire situation. Unfortunately, the Wii U version is plagued by a myriad of sound bugs that really hurt the audio presentation.
  • Gameplay & Controls: A
    Responsive, perfect controls make this a joy to play, with tons of different game modes, unlockables, and secrets. Ultra-challenging platforming with a focus on puzzle-solving is a nice change from many modern action games.
  • Value: A
    It took me about 15 hours to get through just the main campaign, and with a wide range of unique characters and storylines to experience, plus discrete arcade modes to play, 1001 Spikes represents an excellent value.

Overall: A-

For more impressions of 1001 Spikes, please check out my YouTube channel HERE.

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Re-Review: NES Remix (Wii U eShop)

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I gave NES Remix a B- earlier this year, after losing interest in it rather quickly. When I bought it, I was expecting it to be similar to the WarioWare series, with quick, bite-sized challenges of increasing difficulty. In a way, that’s exactly what I got. However, instead of just a well-timed button press here or a tilt of the GBA there, these challenges required more effort and patience. In other words, you have to be good at these games. Did I really want to be devoting valuable time to games like Balloon Fight and Wrecking Crew, after not really caring about them in the ’80s? Those opposing forces really conflicted me, and before I knew it, I was getting frustrated trying to relearn these old 8-bit games.

But as I’ve learned time and time again, stepping away from games can often bring me back with a more open mind. After spending more time with it, digging deeper into its many challenges, my appreciation for it has definitely grown.  While I still think that the game selection itself runs the entire quality gamut from poor to excellent, what the developer Indieszero has put together here is really quite impressive.

It’d be easy to say that they just wrapped a NES emulator inside another game engine, but when you stop and think about what it took to make all of this function the way it does, it’s pretty amazing.

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As a sidenote, I think one of the best features of the Wii U is the Miiverse, with its individual game communities, excellent player interaction, and what was introduced first in Super Mario 3D World: stamps.  NES Remix‘s implementation is cool in that you not only earn stamps and can use them in Miiverse posts, but they are displayed to other users, including best times and star ratings. Some of the scores I’ve seen from other players have been very impressive, as is the artwork I’ve seen. There are some incredibly talented artists out there, and I love discovering them.

My meager attempt — like the one pictured here — is just a tiny example of how you can blend hand-drawn pictures with stamps. It’s a lot of fun, the community seems to do a good job of policing itself, and the Wii U GamePad works surprisingly well for drawing.

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I still have a considerable ways to go before I get 3 stars on everything, but even at this relatively late point in the game, I keep running into little fun surprises. For example, you can buy the old games featured in NES Remix on the eShop. That’s not the cool part, though. What’s cool is they created this fun Legend of Zelda-themed screen before taking you to the store. It’s a great touch that they didn’t really need to put in there, but they did anyway.

NES Remix also does a really good job of rolling out new content and challenges to the player constantly. Every time I think I’ve unlocked the last game, a new one pops up, or more Remix stages appear, and there are surprises beyond that. I loved the way Turn 10 did this in Forza Motorsport 4, and it’s just as effective and rewarding here.

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I also like that there are embedded curve balls thrown into the Remix stages, so just when you think you know what you’re going to have to do, you’re asked to do things that you’ve probably never done in these games.  Those moments are the most memorable, like the one above where Luigi not only has to get through one of Donkey Kong‘s stages that has been flipped horizontally, but then make it all the way back to the beginning. Some of the other stages seem borderline unfair at times, but you can tell that the designers had a blast coming up with all sorts of ways to really mess with our decades-old muscle memory.

In closing, this has been my go-to game for the past week. Whenever I have a few minutes, I’ll immediately turn this on and collect several more stars. It’s great being able to do everything from the GamePad too; this is precisely the type of title that’s perfectly suited for it. Although I still can’t get over how bad the controls are in games like Ice Climber, Urban Champion, and the original Mario Bros. (non-Super), this is still a great compilation that will make you look at the NES era in entirely new ways.

  • Graphics & Presentation: B+
    Classic sprites with subtle touches in the Remix stages, like drop shadows that add depth. Nice interface, good Miiverse integration, and a terrific loading screen give it a polished feel.
  • Music & Sound Effects: B
    Clean, crisp audio, plus some new music and interface sound effects. You’ll likely get very tired of hearing the Miss and Game Over sounds, though.
  • Gameplay & Controls: B+
    The games are preserved here and play just like you remember. They also control just like they did in the ’80s, which is to say that some are good and some are bad. Lots of content rewards throughout keep things fresh.
  • Value: A+
    $15 seems steep, but there are over 200 challenges to complete, and they will keep you busy for a long time, especially if you go for the perfect rainbows. Good Miiverse integration keeps you chasing those high scores.

Overall: B+

 

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