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

September 29, 2014 by Mike

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.

Unfortunately, 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.

After 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.

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.

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.

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

Review: Nintendo Wii U Pro Controller (PC)

September 10, 2014 by Mike

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.

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.

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.

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.

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.

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.

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.

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.

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.

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-

Review: Sony DualShock 4 Wireless Controller (PC)

September 9, 2014 by Mike

This generation has been a strange one for me. I’m typically the kind of person who will buy new consoles at or near launch, regardless of what titles are available. Case in point? I paid an ungodly amount of money for an import PlayStation 2 in early 2000, and the only game I bought it for? Konami’s Gradius III & IV. Don’t ask. It’s not my proudest moment.

The only current-generation console I own is a Nintendo Wii U, and even with that, I waited almost a year before taking the plunge. With nothing really pulling me towards either an Xbox One or PlayStation 4 at the moment, and with most of my time being spent playing games on PC, I thought now would be the perfect time to compare how each of the current-generation console controllers perform on my rig.

I reviewed the Xbox One Wireless Controller last month, and I came away very impressed with it. It’s easily the best controller Microsoft has ever produced, with thoughtful, even inspired design. It has some areas where it could be improved, but overall, it’s become my go-to PC controller.

Although the Xbox One controller is the preferred way to go on the gaming forums I visit, as a reviewer, I felt the need to give the other manufacturers a fair shake, including Nintendo’s Wii U Pro Controller, which I’ll be reviewing soon. So with that, I picked up a DualShock 4 on Amazon last week and put it through its paces.

To begin with, the packaging on the DualShock 4 is pretty good. It’s not as premium as Microsoft’s, but it’s not a cheap blister pack either.

The front features a molded, clear plastic insert so that you can see the actual controller.

Turning the box over, the back highlights some of the DualShock 4’s updated and new features, including the touchpad, Share button, integrated light bar, built-in speaker, and standard 3.5mm headphone jack.

It also notes that a USB cable is not included with the controller. The Xbox One controller came the same way: sans USB cable. They’re so cheap that I wish manufacturers would just include one to save customers the extra hassle of buying one.

The packaging itself it easy to open. Included inside along with the controller is a small instruction manual. Since pairing is done differently on the PS4, note that for PC you put the controller into Bluetooth pairing mode by holding down Share (The Button Formerly Known as Select) and the PS button at the same time until the light bar flashes rapidly.

Other things you’ll want to have if you’re using this on a PC:

As I alluded to earlier, you’ll need a micro USB cable — like this one — for charging and playing with a wired connection, which is how I prefer to play.

Alternately, if you want to play wirelessly, you will need a compatible Bluetooth receiver. I tried a Kinivo BTD-300 Bluetooth 3.0 USB adapter with Windows 7 SP1, and I had no problems pairing.

You’ll also need the DS4Windows software, which you can learn more about and download HERE.

If you don’t use this software or something similar to it, the DualShock 4 will still function as a HID-compatible device, but you will not be able to utilize any of the controller’s additional benefits — including a number of XInput features — so it is recommended that you do so unless you have a game or application that has legacy compatibility problems.

This software also allows you to customize the controller, record macros, create per-application profiles, and use the touchpad for mouse input. It’s a terrific program that once again shows what talented, independent developers can create.

Once everything is installed, the DualShock 4 will be automatically mapped and function exactly like an Xbox 360 or Xbox One controller. Pretty nifty!

Focusing on the controller itself, it’s worth noting that this is the first significant shape change for the DualShock line since the original PlayStation. While the layout and overall design is familiar, just about everything has been updated, and mostly for the better.

The grips are thicker, rounder, and extend further than they did on the DualShock 3, giving the controller a much more comfortable and sturdy feel. The shoulder buttons now sit more flush with the controller housing instead of being set on top of the old “Black Mesas”, as I like to call them.

The most significant update is the touchpad, which didn’t make much sense to me until I actually used it. It functions just like a notebook touchpad, it can be left- or right-clicked, and supports multi-touch for smooth page scrolling.

This makes using it on a PC a fantastic experience, where many games and applications tend to work better if you have a mouse handy. It’s nice to be able to navigate menus and other Windows-specific tasks without having to put the controller down.

Underneath the analog sticks are two ports: an extension port and a standard 3.5mm headphone jack. I don’t believe audio output it supported on PC at this time, but I’m very happy to see Sony not using a proprietary connector for this or the USB charging port.

The PS button remains in approximately the same place as it was on the DualShock 3, and above it is now a built-in speaker, similar to what is found on the Nintendo Wii Remote. Like the headphone jack, however, it doesn’t look like this feature is supported on PC yet.

The infamous light bar also illuminates by default when using it on a PC to communicate charging level and power, but thankfully you can disable this function via DS4Windows’ profile settings, as well as fully customize its colors.

Personally, I leave it off except when I’m using it wirelessly. This way there’s no second-guessing whether it’s on or off.

The analog sticks have been redesigned, sitting a little lower than they did before, with a smoother feel and slightly higher resistance. The classic convex tops of past DualShocks have been replaced with a thinner, more recessed design, but to me, they feel cheaper in quality and less comfortable to use than the Xbox One’s superb design, and to a certain degree, even the DualShock 3.

However, the redesigned d-pad is absolutely a winner. As much as I have loved every PlayStation console over the past two decades, I’ve never been a fan of their d-pads. They’re small, somewhat mushy, and the split design can wreak havoc on your thumb.

While the split design is still present here, it is now flared and slightly larger, possessing better curvature too. It is a joy to use, both with its crisper feel and better tactile feedback. Whether you go with this, an Xbox One controller, or the Wii U Pro Controller, d-pad fans won’t be disappointed.

The Square, Triangle, X, and O face buttons have also undergone some minor changes. They’re similarly sized as before, but are arranged in a slightly tighter cluster. It’s only noticeable when you stack a DualShock 3 directly on top.

The buttons themselves are now flatter, and I’m not entirely sure if it’s just because the controller is brand-new, but they feel snappier and quicker than the DualShock 3’s.

The Share and Options buttons, though, which used to be Select and Start on past consoles, are a disappointment. Their location is good, but they sit flush with the controller housing, and don’t really have much of a feel to them.

They share a similar design with those found on the original Vita, but they don’t click nicely like they do on Sony’s handheld. As a result, I found myself pressing the Options button overly hard to pause games. A slightly raised or convex design would do wonders in making these buttons feel more confident during play.

The L1/L2/R1/R2 triggers are also an improvement over the DualShock 3. I’m not sure what Sony was thinking when they made the PS3 analog triggers convex, but it spawned an entire accessories market for plastic trigger covers to fix them. Heck, I even bought a couple sets!

The L1/R1 buttons feel great, and I much prefer them over the Xbox One bumpers, which are loud and clicky. Most significantly, the L2/R2 triggers are now concave like they always should have been, but they don’t feel as nice as the Xbox One triggers, which are larger, quieter, and ultra-smooth to operate.

The vibration motors in the DualShock 4 are virtually silent, which is an area where it excels over the Xbox One’s, which are surprisingly loud if you’re playing in a quiet environment.

Compared to the Xbox One controller, the DualShock 4 looks more taut, but their footprints are very similar. Both controllers feel great, and either way you go, you really can’t lose in the ergonomics and comfort departments.

It will come down to personal preference for most people. I’ve always loved the asymmetrical design of the Xbox analog sticks, but I prefer the d-pad placement on the DualShock.

The housing material feels more premium on Sony’s controller, but the analog sticks and triggers are superior on Microsoft’s.

Face buttons are equally responsive on both, but the View/Menu (aka Select/Start) buttons on the XBO controller trump the Share/Options buttons on the PS4’s.

The DualShock 4 wins when it comes to its feature set on PC, though, thanks to the DS4Windows software, which gives it convenient mouse support via its touchpad, simple Bluetooth syncing (the Xbox One’s wireless communication is proprietary, and is neither Wi-Fi or Bluetooth), and the extent to which it can be customized.

The Xbox One controller, on the other hand, is superior to the 360 controller in just about every way, so if you’re used to that setup on PC, it could be a more attractive option.

In closing, the DualShock 4 is a massive improvement over the DualShock 3, and apart from a few minor quibbles, this should be at or near the top of the list when the time comes to invest in a great controller for PC gaming. Highly recommended.

Overall: A-

Artist Spotlight: Travis Bolek

September 8, 2014 by Mike

If you’ve seen any of my reviews on YouTube, you might have noticed a new piece of artwork being featured at the end of each video. Travis Bolek — one of my friends from Phoenix, Arizona — recently got in contact with me to collaborate on an idea that would combine gaming with music, and this here is the result:

I’ve dabbled with the ukulele and bass guitar over the past few years, so I thought it would be fun to have me playing the bass while our dog Marley Mae could be strumming along on her ukulele. Those with an eye for detail will also notice that my bass is themed like a Sega Genesis, while the ukulele is styled like the Nintendo Super Famicom (the Japanese version of the Super Nintendo).

I also wanted the colors to carry the overall themes from the other pieces of GHG art that have been produced by Crystal Ferguson and Laura Carberg, in order the bring consistency to the various social media outlets where I’ve been posting my content.

I’m really happy with the way it turned out, and last week, I had a chance to ask Travis some questions about his art, influences, and gaming:

Gray-Haired Gamer: First of all, thanks for being able to do this interview! So to kick things off, how would you describe yourself in one “back of the game box” blurb?

Travis Bolek: Eye-popping, high-resolution graphics with Dolby Digital surround sound and mind-bending end-bosses!

GHG: What, no Blast Processing? Anyway, what or who got you into art?

Bolek: Definitely comic books and video games. Specifically Spawn, Spider-Man, and Mortal Kombat. Todd McFarlane was a huge influence on my early development as an artist, and I used to read the early to mid-’90s Amazing Spider-Man comics. I even had a subscription to them! I remember copying his poses from those books.

Mortal Kombat was huge for me as I would create characters with my friend for unreleased sequels. They were often terrible, generally being just a palette-swap of the ninjas. Who knows? I probably could have gotten a gig at Midway at that age!

GHG: I know the feeling. Do you remember the first thing you ever drew? What was it and do you remember why you drew it?

Bolek: Hmm, that would probably have to be a picture of the Teenage Mutant Ninja Turtles that I drew when I was like four. The only reason I remember this is because my mom framed that picture and it’s still hanging in the living room of my parents’ place! I drew the four turtles in a desert, floating up in the air and one of them is being stabbed by a very long cactus thorn.

GHG: That’s fantastic that it’s still being proudly displayed. I somehow managed to not get stabbed by any cactus needles while living in Phoenix. Agaves, though, skewered me plenty. So, what or who inspires your art?

Bolek: Seeing a lot of the modern digital artists from games and movies are a huge inspiration, as well as artists for album covers. I’m inspired by Mark Riddick. He’s an artist well-known for his death and black metal covers. They’re generally done in black and white in a very detailed pen and ink style.

Ed Repka is another famous metal album cover artist. He’s best-known for his art on the early Megadeth albums. His work is probably what could be considered “stereotypical” of metal themes and style, but he has really good composition, technique, colors and ideas that push what the content of the music is. He knows what to paint that will reflect the album — which I’m sure the musicians have their say — but he’s able to take and elevate it to that final stage.

Dave Rapoza is one of the more recent artists I’ve been into. He does freelance work for videogames and movies, and has done a lot of cool fan art, particularly of the Teenage Mutant Ninja Turtles. He has a very gritty, hyper-realistic aesthetic to his work. Even though it’s digital you can still see his paint strokes, and his work looks like it could fit on a metal album cover, which as you can imagine, is another draw for me.

iron_maiden_sit Then there’s Derek Riggs, who is best-known for most of Iron Maiden’s discography. Again, he has a mastery of composition, technique, color, and a wild imagination. Somewhere in Time (pictured) is probably my favorite album piece; it’s full of hidden references to past Iron Maiden works and other pop culture references.

And of course there are the other usual suspects, like Frank Frazetta and all the classical greats. Basically, I really enjoy most fantasy and science fiction art.

GHG: Very nice! Speaking of fantasy art, Jeff Easley was one of my favorites growing up. In fact, I think I liked the art more than I did playing Dungeons & Dragons! Getting back to your art, what do you like to draw with and on?

Bolek: I typically draw on a sketchpad using a mechanical pencil with HB graphite (0.7 or 0.5mm width). It’s just something I’m used to doing at this point, and I like to ink my drawings occasionally, though I don’t consider myself to be a good inker.

On computer, I have a Wacom tablet and I use Photoshop for digital painting. I try to keep it simple by limiting how many brushes I use and not using too many layers in order to retain a traditional-looking quality. I do like the ease of digital painting especially when it comes to more mechanical and perspective pieces.

GHG: I’m particularly fond of being able to undo mistakes, of which I make many! Switching to gaming for a bit, are you playing anything right now?

Bolek: Yeah, I just recently finished Jazzpunk, which is a hilarious and quirky adventure game. I’ve also been playing through Spec Ops: The Line and Shin Megami Tensei: Nocturne.

GHG: Never heard of Jazzpunk, so I’ll have to look into that one. Perhaps a cliched question, but if you were stranded on a desert island, what games would you bring and why?

Bolek: Probably the Mass Effect trilogy, with all of the DLC of course. The last two games are not my all-time favorites, but it is part of a great overarching story that really got me invested in the series. Plus, there’s enough to do in those games that it would keep me occupied for a long time. And Wilson can help me out with the multiplayer.

GHG: And you never know — there might be extra games in that FedEx box. I also have yet to finish any of the Mass Effect titles, even though I have them on at least two platforms. My embarrassing gaming confessions aside, are you looking forward to playing anything before the end of the year?

Bolek: Alien: Isolation, Evolve, and Citizens of Earth are looking pretty good to me.

GHG: Citizens of Earth does look cool! What’s your all-time favorite game(s) and why?

Bolek: I’m glad you added that ‘s’ in parentheses, as I do have a few all-time favorite games.

First up is EarthBound. It’s a very charming, cult classic RPG for the Super Nintendo. I’m sure most regular readers of your site are familiar with this game already, so I don’t have to get too in-depth as to why it’s one of my favorites. A short list includes its quirky humor, setting, art direction, music, battle mechanics, and overall story.

Xenogears is another one of my favorites. It’s a very long and engrossing RPG that has a fairly well done — although convoluted at times — storyline. Plus, I enjoy the combat system between it being on foot and in the mech or “Gear” as it’s called in-game.

Fallout 3 is also up there. I played the first one briefly, but the third one really sucked me in. I think it was the setting of it that really captivated me and the moral ambiguity the entire world had. It was good overall, but tainted by the nuclear fallout. Plus it has a wicked sense of humor and great replayability.

And I have to mention again the first Mass Effect. I know a lot of people like the second one because of the combat, but the first just has a better story, which really puts it above some of the minor gameplay flaws it possesses. It was about the journey and discovering oneself, particularly the human race on the galaxy stage of civilization. Plus, the way the Reapers were presented at the time as this absolutely terrifying, unstoppable force really got me. I actually loved the Mako sequences and even enjoyed the elevator rides which were masking the load times, but they added depth to the game world and characters.

GHG: Man, Xenogears had some great music too. Are there any games or genres you don’t enjoy?

Bolek: Genre-wise, I’m not a big fan of real-time strategy (RTS) games. I’ve tried getting into them with Starcraft and Warcraft III, but I’d always get to a certain point and just stop playing to go focus on something else.

I really don’t like Duke Nukem Forever. It’s one of those games that never should have come out. I find it to be juvenile, the poor reviews are a reflection of its quality, and it bugs me that other games that I wanted got canned instead of that one.

GHG: I’ve never been able to click with RTS either. What feature might make you take a second look at those games/genres you don’t like?

Bolek: For RTS games, maybe get rid of the 20 minute endurance missions. For Duke Nukem Forever? Uhh, next question please.

GHG: Fair enough! So, what’s your dream job?

Bolek: My dream job would be working at Double Fine Productions. I love San Francisco and I respect the work and ethic that Double Fine possess. It seems like a really fun place to work, and I’d love to do animation or maybe some modelling or concept art for them.

GHG: They were definitely a great team to work with! Anything in particular you want to say about the Gray-Haired Gamer piece you did?

Bolek: I really enjoyed the back-and-forth that we had with the piece, and I’m glad that my vision prevailed! Haha!

GHG: It turned out looking really cool, and it works so well at the end of the review videos. Speaking of which, I know music plays a big part in your life. What do you like to play and use?

Bolek: I have a couple of electric guitars, an acoustic and a banjo, which I haven’t really touched in a while. I tend to use medium to heavy gauge strings, as they work better with more aggressive music and down-tunings.

For picks, I use heavy gauges there too as I like the pick to be rigid when I pick fast. I have a few pedals (a digital delay, phase shifter, and distortion), but I don’t have them hooked up. I would like to get a wah pedal and a whammy wah pedal, which is something that Tom Morello and Dimebag Darrell use quite a bit.

GHG: Very cool. In addition to those folks, any other major musical influences?

Bolek: My favorite bands are my influences, so there’s Opeth, Iron Maiden, early Megadeth, Emperor, Death, Ihsahn, Nevermore, and Slayer. They all have songs that resonate with me for a variety of reasons, and I have written music that basically aped their style… in a good way, of course.

GHG: We never did get to jam in Phoenix, which I regret. I probably couldn’t have kept up, though! Any other stuff you’re really into?

Bolek: I love bad B-movies, particularly the ridiculous plots and the generally earnest attempts at filmmaking that they possess.

GHG: And finally, would you like to share any websites and/or services you offer?

Bolek: I don’t have my personal site up yet, but I’m working on it! I do have a deviantART page that has some of my work samples.

As far as services are concerned, I offer concept art and logo creation services.

GHG: Thanks again for taking time to do this interview, and please let me know when your website’s ready to go!

Bolek: Will do, thank you!

Review: Kero Blaster (PC/iOS, 2014)

September 5, 2014 by Mike

Studio Pixel’s Cave Story is one of my favorite games. Created, designed, illustrated, scored, and programmed by one person — Daisuke “Pixel” Amaya — it is often credited for sparking the indie game revolution of the last decade.

It is a meticulously crafted and thoroughly fun non-linear action game, with a good story, strong characters, and wonderful 16-bit sensibilities.

Cave Story has gone on to be ported and enhanced across several different platforms, and many fans — including myself — have been eagerly awaiting his next big release.

In May of 2014 — nearly ten years after Cave Story — our wishes finally came true. With additional help from Kiyoko Kawanaka, his latest game Kero Blaster has arrived.

“Kero” is the Japanese equivalent of “ribbit” in English, and the title itself sounds like a play on “ghetto blaster”, those giant boomboxes from the ’80s. Fitting, given the oldschool graphical and musical stylings of this game.

Those going into Kero Blaster expecting Cave Story II may be slightly disappointed. If Cave Story was Amaya’s tribute to games like Super Metroid and Castlevania: Symphony of the Night, Kero Blaster is his Mega Man and Super Castlevania IV. It’s shorter and linear, but just as fun and entertaining.

At its heart, Kero Blaster is a side-scrolling action platformer with run-and-gun sensibilities. You play a no-nonsense, blue tie-wearing frog who has an acquirable double-jump ability, a sweet bomber jacket for added protection, four upgradeable weapons, and various other health boosts which can be purchased at shops throughout each of the game’s seven stages.

Your frog controls well, although I found him to be a little too — dare I say — slippery at times, but rarely did the slightly loose controls lead to my demise. His double-jump controls do take some getting used to, and will feel more natural once you understand that double-jumping straight up takes you higher than diagonal ones.

I appreciated being able to use my Xbox One controller to play this game. I remapped my controls — preferring to use the bumpers to cycle through weapons — and away I went.

The weapons at your disposal also have a range of pros and cons. Some have a limited reach, some are better in specific environments, while others are very potent, but concentrated, like Contra III‘s laser vs. spreadfire.

All of them are fun to use and look great. I utilized each of them up to the very end, which shows how much thought Amaya put into their design.

Most of the game’s levels are uniquely designed, with some asset reuse occurring during the game’s final act. This is all part of the game’s story, however, and it works extremely well in showcasing how far your little green hero has come.

Each level is fun to explore, and figuring out the best way to dispatch enemies is one of the game’s best qualities. There are also a good number of secrets to uncover — including a fifth weapon — which takes a New Game+ playthrough to acquire.

Speaking of New Game+, like many other games, you can play through the levels again with all of your gear. In Kero Blaster‘s case, however, you’ll start over with only one heart and no cash, but hey, a small price to pay for looking so cool.

In fact, New Game+ is where the game truly comes to life. It’s certainly fun the first time, but going through the levels again — without any of the cutscenes to slow things down and powered-up — is quite literally an absolute blast. There are also some extras to be had for those who play through the game at least twice.

Kero Blaster‘s visuals are wonderful. The frog you control is charmingly simplistic and flat-shaded, as are many of the creatures and characters you run into throughout the game. While they may look rather basic in screenshots, every character is animated nicely, with tons of personality, vibrant colors, and memorable design.

The world graphics are matched perfectly to its inhabitants as well, with excellent foreground and background separation, clear platforms, and smoothly scrolling playfields.

Kero Blaster‘s music and sound effects are also very good, and classic game music fans will find a lot to enjoy here. It’s not as uniquely synthy as traditional 8-bit soundtracks tend to be, but it still has its strong points, with certain tracks sticking in your head long after you’ve turned the game off.

In terms of difficulty, Kero Blaster feels just about right. It’s surprising how easy it is to take damage, and even with a decent amount of heart containers and reserves, I died quite a bit. Checkpoints throughout each level are generous, but if you lose all of your lives, you have to start the stage over from the beginning. Fortunately, you don’t lose anything in the process. A Game Over can sometimes even be a good thing as you’re able to gather more money retracing your steps, allowing easier and faster upgrades to your frog’s deadly arsenal.

I did run into some annoying bugs, like the fact that I had to manually terminate it via Windows 7’s Task Manager in order to properly close it. It wouldn’t launch again otherwise. Also, perhaps due to the number of on-screen sprites — of which there are a lot at times– the game had a tendency to chug a bit, tarnishing an otherwise very polished exterior.

Additionally, a very minor point is the English font. It gets the job done, but I don’t like the fact that the font pixels are smaller than the ones in the game itself. They don’t match, so hopefully this is something that can be updated in a future patch to really make everything cohesive.

The interface is also simplistic, with no display or sound options except for being able to choose the window size. Even going full-screen didn’t fill my entire monitor, possessing a dull gray border around all four sides.

Kero Blaster is short, at just about 5 hours for two complete playthroughs. However, it’s the kind of game you can’t stop until you’re done, and even after that, it compels you to come back and discover all of its many secrets.

While it may not have the historical significance that Cave Story did, it’s still a very fun game that represents all the best qualities of Amaya’s incredible talent.

Graphics & Presentation: A-
Charming, simple spritework with clean and consistent background art. Good environmental variety, parallax scrolling, and trademark Pixel visual design and color.
Music & Sound Effects: B+
A very good oldschool-style soundtrack with crisp sound effects. The PC version’s sound files can be played directly with Pixel’s free audio player, which is a nice bonus.
Gameplay & Controls: B+
Solid controls and a good strafing mechanic make you one deadly amphibian. Linear design doesn’t leave a lot of room for exploring, but they do contain some hidden alcoves that take repeat playthroughs to uncover. Great weapons and enemy/boss design.
Value: B
This is a quick game that isn’t too hard, so most players will get through it the first time in about three hours. New Game+ is a lot of fun and worth playing through at least once. Cutscenes are removed on subsequent playthroughs to keep things moving at a brisk pace. For $8 ($5 on iOS), this is a good value.

Overall: B+

Review: Volgarr the Viking (PC, 2013)

August 29, 2014 by Mike

“RISE, WARRIOR!”

And so begins your journey through Crazy Viking Studios’ 2D tribute to the difficult 16-bit titles of old, Volgarr the Viking. If you’re looking for a game with copious checkpoints, an Easy setting, or something more passive, I suggest you look elsewhere. Volgarr is a difficult game that may seem unfairly cruel at times, but once you master its perfect controls and understand how to properly approach its many obstacles and enemies, it will reward you with a gameplay experience like no other.

Its origins trace back to a small Kickstarter campaign launched in 2012 by just two guys: Kris Durrschmidt and Taron Millet. It successfully funded at the end of August, raising nearly $22,000 above and beyond the original $18,000 goal. There was definitely interest in making this game a success. One of my own biggest regrets was not knowing about this Kickstarter while it was happening. Had I known just how good this game was going to be, I would have sprung for the $150 tier, because the physical Sega Genesis box and cartridge would have simply been way too epic to pass up.

Fast-forward a little over a year to September 13, 2013 when Volgarr saw its public release. By then, I knew full well about it based on the buzz I’d been seeing online. Without a doubt, this looked like my kind of game. Tough, 2D, and meticulously constructed. I bought it, but as is the case with many of my purchases, it sat there unplayed while I focused my energy on Mario, Joel and Ellie, and the Nintendo Wii U.

So why did I choose this month to start? Well, when it comes to gaming, I fall into patterns and genres, and this summer has been all about retro games and platformers. Aban Hawkins & the 1001 Spikes, NES Remix, Electronic Super Joy, and Shovel Knight — which is another Kickstarter success story — are among the games that led up to my inevitable, true face-to-face with Volgarr…

…and I’m sorry I waited so long.

Before diving in, I have to quickly mention the manual. It’s fantastic! Styled just like a Sega Genesis manual from the ’90s, it’s full of great information, tips, lots of screenshots, and fun artwork. Again, I wish I could have this in physical form, but even digitally, it’s a thing of beauty.

Volgarr‘s gameplay will be familiar to those raised on the 8-bit and 16-bit games of the ’80s and ’90s. It owes a lot Taito’s 1987 arcade game Rastan, and even its opening scene will give fans of Taito’s game deja vu, but it pulls its influences from other classic games as well, including Magic Sword, Castlevania, and one of my all-time favorites, Ghouls’n Ghosts, which I did proudly beat back in the day.

Each area of the game is wonderfully and creatively constructed to not only challenge the player on an environmental level, but you’ll also have to contend with a myriad of cunning enemies, whose attacks are varied and extremely deadly.

And you will die. Over, and over, and over again. When I first began playing Volgarr, there was a moment early on where I was tempted to give up. I thought to myself, “Ugh, all this time I’m putting in, and I’m barely getting anywhere!” But then I realized that this was exactly the kind of experience that shaped me at a young age. Playing all of those tough games and beating them, no matter how impossible they might have seemed at the time.

That “one more try” quality is what makes Volgarr such a definitive experience for me. Mastery of the game’s techniques will turn you into an agile, bearded, loincloth-donning bad-ass. And you will take those skills with you — perhaps even arrogantly — through to see its three different endings.

To get you there, Volgarr had a wide assortment of moves and tools at his disposal. Most interestingly, his jumps have a single, predetermined arc. There are no low, mid, and high jumps, and if you jump in a direction, the only way to change which way you’re going is to initiate a double-jump. This is very similar to Super Ghouls’n Ghosts on the Super Nintendo. He also has throwing spears, swords, shields, and additional aides to help him through each world. Double-jumping will make Volgarr do a spin-attack, he can roll past enemies, and bring death from above with a downward thrust.

The entire gameplay experience is fantastic, complemented with its trademark controls, which are responsive and predictable. Crazy Viking Studios has also made a number of significant tweaks to the game to make it especially friendly to the speedrunners, which shows just how much they care about making this game appeal to serious players, completionists, and the competitive community.

Graphically, Volgarr get most things right. The character and enemy animation is simply out of this world, and the game itself moves along at a fluid and rock-solid 60fps. Volgarr himself possesses a ton of animation frames, including one of my favorite oldschool touches: idle animations. It always disappoints me when I play a game that lacks these.

The playfield can be either left in its default mode, or you can click a button to zoom out for a much wider view of your surroundings. The zoom effect itself is nice, and the feature itself is extremely functional and helpful.

The background and world art is also good, but isn’t a highlight of Volgarr‘s presentation. They have good color and are full of nice layers of parallax, but the level art isn’t as refined as the characters. When I think about the look of Sega Genesis games, I remember developers really extracting the most out of its limited color palette, blending and dithering together combinations that gave those titles their signature look. I am reminded less of those 16-bit console games here, and instead see early ’90s PC VGA games, which utilized fuller palettes, smoother gradients, and soft blurring.

As a result, I don’t think that the two different styles marry up quite as nicely as they could, but at the same time, the entire presentation does have a distinct, handcrafted look that gives Volgarr its uniqueness.

The audio, on the other hand, is across-the-board impressive, and it’s the one area of the game that belies its 16-bit exterior. That’s not a bad thing, however, as Volgarr is full of crisp, clear voice samples, vibrantly realistic sound effects, and a blood-pumping orchestral soundtrack, courtesy of composer Kochun Hu. While a more traditional Z80-based soundtrack might have been the preferred way to go, I think the music in Volgarr is great, and in my opinion, elevates the experience instead of it just being retro for the sake of it.

Volgarr was introduced for just $10 last year, and recently it saw a staggering sale price of $4 on GOG.com, but even at its full $12 asking price, this represents one of the best values in 2D side-scrolling action. There are six main worlds in the game, each broken into two long stages plus a boss battle. The main game gives the player unlimited lives, but sparse checkpoints. This is where players will hone their skills, learn enemy patterns, and master the game’s other various intricacies.

Beyond this, however, is a completely separate branch called the Path of the Valkyrie. This mode is comprised of remixed and redesigned worlds, plus a bonus seventh world and true final boss. It also features limited lives, which makes it a challenging, authentic, and super-fun arcade experience. Depending on how you do in this mode will determine which of the other two remaining endings you will get.

Speaking of the endings, they are all worth seeking out. Not only are they funny and entertaining to read, but they feature additional artwork not seen in the main game, plus a memorable credit sequence that is the icing on the cake.

In closing, Volgarr the Viking is so far my favorite game of 2014 that wasn’t released in 2014. It’s a game that truly respects the player’s patience, understanding, and perseverance, and it comes with my highest recommendation.

And now I shall pray to the Allfather Odin that Crazy Viking Studios will produce a sequel. The world existing with only one Volgarr game would be criminal.

Graphics & Presentation: A-
Beautifully drawn and animated sprites, environmental effects, parallax scrolling, scaling, rotation, transparencies, and nice use of color. Some backgrounds and art appear muddy and are not as nicely detailed as the brilliant sprite work.
Music & Sound Effects: A
An excellent orchestral soundtrack brings the world of Volgarr to life. Bone-crunching sound effects, atmospheric ambient textures, and crystal-clear voice samples round out the very impressive audio experience.
Gameplay & Controls: A+
Perfect, ultra-responsive controls make this one of the most intuitive games I’ve played in recent memory. Branching paths, lots of secrets, and diabolical enemy and platforming challenges will put the most seasoned players to the test. Super-tough, but not unfair.
Value: A+
It took me nearly the entire month of August to get all three of the game’s endings. For $12 or less — it’s currently part of Humble’s Adult Swim bundle! — Volgarr represents outstanding bang for your buck.

Overall: A+

For more, including Volgarr playthrough videos with commentary, please check out my YouTube channel HERE.

Review: Microsoft Xbox One Wireless Controller (PC)

August 20, 2014 by Mike

Although I don’t own an actual Xbox One (XBO), I’ve been hearing great things about its controller since it launched nine months ago. My go-to controller for the PC has always been a wired Xbox 360 one, and aside from its terrible d-pad — and it is truly terrible, despite Microsoft trying to fix it a few times — is probably my all-time favorite controller. It has a great button layout, is comfortable to hold, and I’ve always preferred its asymmetrical and concave thumbsticks over the convex designs found on the PS3 and Wii.

It’s also one of the most durable controllers I’ve ever owned, and I’ve never had one fail… until now. Not bad considering I’ve been using this original white and gray one for what has to be close to a decade now, and it’s been put through the paces, most recently surviving Shovel Knight, Electronic Super Joy and all three of the Arkham games on PC, as well as being a reliable partner in getting me all the way through Super Meat Boy on the 360 back in 2012.

Last week, I started Volgarr the Viking with it, and while it was doing OK for a while, the left thumbstick started to get unresponsive, and that’s not good, especially for a game like Volgarr. Plus, it’s very well-worn, with the raised bumps on its rubber surface barely intact, an ever-increasingly loose dead zone, and an unattractive yellow-greenish discoloration that makes me question my own hygiene. I also didn’t like having to swap controllers for retro gaming due to its DOA-pad, as I so affectionately called it.

“Baby, we had a good run, but I’m afraid it’s time to say good-bye.”

It took me a while to finally pull the trigger on the XBO controller, though. While 360 controllers can be had for a street price of about $30-35, the Xbox One controller costs a whopping $55-60. Sony DualShock 4 controllers are similarly priced, with the Wii U Pro Controller being about $10 cheaper. Controllers are important, however, so if you’re not using a good one, the experience suffers as well.

With my 360 controller not pulling its weight anymore, I clicked the “Place your order” button on Amazon and eagerly awaited its arrival.

I was surprised when the big box arrived. I was half-expecting a padded mailer with the controller sealed in a blister pack, but I’m glad my $55 and change got me a nice box, complete with glossy finish over the controller images. I’m not being sarcastic here; I really do appreciate nice packaging, especially in this day and age where you’re lucky if you get anything resembling a manual at all with your $60 game.

But I digress.

Getting back to the packaging, the box itself is nice and sturdy, with the only included plastic of any significance being the retail shelf hanger (which is recyclable) and the wrapper around the two AA batteries.

Yes, I said batteries. I’m guessing Microsoft had a good reason to stick with them, but it kind of blows my mind that their brand-new console still uses AAs. Sony ditched them last generation, and even Nintendo switched to rechargeable packs in both their Wii U GamePad and Pro Controller.

Anyway, also included inside the box is, of course, the controller itself, a quick start guide, health/warranty information, and a 2-day Xbox Live Gold trial. I ditched Gold a long time ago, but Microsoft’s Games with Gold program makes it more enticing, especially for those used to the perks of PlayStation Plus.

I noticed that the hard internal cardboard that surrounds the XBO controller left light scuff marks on the back of its black housing. They’re minor, but I think Microsoft should include a protective wrap around it to prevent any damage if or when they revise the packaging.

Also, it’s important to note that if you plan on using this as a wired controller — which is how I’m reviewing it — you will need a Micro USB cable such as this one, since no cable is included. Thankfully, they’re dirt-cheap.

The controller itself is quite similar to its 360 older brother, with a near-identical face button layout. On the back? No screw holes! Very nice design. Sometimes those recesses can dig into your fingers during heated, extended gaming sessions, so their removal is a very welcome update.

The Back and Start buttons now have symbols on them that represent View and Menu, which is just bizarre to me. Thankfully — at least on the PC — they behave just like the 360 buttons. The large, circular Guide/Xbox button has been moved up and away from the Back/Start cluster, which I think is great.

What isn’t great is that it now emits a constant white glow whenever the controller is plugged in. My SteelSeries mouse emits a similar glow, but I can turn it off if I want. As of this writing, there doesn’t seem to be any way to turn it off or reduce its intensity, which is unfortunate.

Another slightly annoying bit of behavior is that when you turn your PC on or your plug the controller into a USB port, the controller will vibrate for about 3 seconds. The first time this happened, I had the controller sitting on top of my PC case, which is made out of metal. The loud noise that resulted made me think one of my hard drives had died!

Hopefully both of these issues will be addressed in a future driver update, but to be honest, they’re very minor. The drivers themselves are still very new for the PC, having only been released about two months ago. You can download them HERE. Installation couldn’t be simpler, and you’ll be up and running within a couple of minutes.

Grips feel meatier and more comfortable than they did on the 360 controller, and the triggers and bumpers have been redesigned as well.

The analog triggers are silky-smooth and are more or less silent when you press them. They have individual vibration motors in them, which I haven’t experienced firsthand yet. Microsoft calls them Impulse Triggers, but I believe this first PC driver simply emulates 360 controller support, so time will tell if this gets added in and PC game developers support them.

The bumpers are a little bigger on the XBO controller, but are otherwise similar to the 360 ones. My right bumper clicks significantly louder than the left one, though. Not sure if that is intended or not, but a cursory look around the internet shows that other users have observed this as well. In-game responsiveness is fine, however.

What’s particularly nice about the XBO controller are both the new d-pad and analog thumbsticks.

The d-pad is by far the biggest and best improvement on the controller, with a nice concave shape, and satisfyingly tactile clicks with each directional press. Moving your thumb across it is smooth, diagonals are effortless, and it’s wonderfully responsive. If you like the feel of the 3DS XL or Wii U Pro Controller d-pads, you’ll absolutely love this.

The thumbsticks have been similarly revised, with thick, smaller diameter tops covered in a grippy material. I love these. As you can see on my 360 controller, any grip that was there to begin with is now gone. These have excellent feel, don’t slip at all, and are better-suited for multiple styles of play.

The colored face buttons curve around the right side of the XBO controller more than they do on the 360’s. They are also slightly larger in diameter, sit more flush with the controller’s housing, and are less resistant, which yields great responsiveness. They are easier to read now too, with each colored letter set against a black background.

As with the 360 controller, there is an expansion port on the bottom for headsets and other future peripherals.

So yeah, that darn battery compartment. The good thing is that it’s been designed to sit flush with the back of the controller. 360 owners know how bulky and intrusive the battery pack compartment is on the wireless controller, so it’s nice to see Microsoft improve the design significantly, to the point where you won’t notice it.

I do like the “Hello from Seattle” there on the inside label, too. Nice touch.

But again, why traditional batteries? Yes, I get that if a built-in rechargeable battery fails, you’re basically left with a dead controller, but through multiple generations, I have yet to have that happen. The sold-separately Play & Charge Kit will run you an additional $20, so you’re looking at $75-80 for just one controller, which is borderline absurd.

A brilliant aspect of its design, however, is the fact that the XBO controller doubles as a traditional wired one if you use a Micro USB cable with it. You don’t need any batteries at all if you choose to go this route, and it works beautifully. For PC, I believe this is the only option available, so it makes that decision an easy one.

Most importantly, gaming with this controller is a dream. It got me through the second stage of Volgarr the Viking this week, and the video above shows me playing through the first stage of Irem’s R-Type III: The Third Lightning on the Super Nintendo. Whether it’s classic side-scrolling action or frantic shoot-’em-ups, it gets the job done.

I haven’t played through R-Type III since the ’90s, and it’s crazy how advanced it was at the time! Some of those Mode 7 effects are still so impressive today.

In any event, this is a great controller. It’s everything that made the 360 controller one of the all-time best, with improvements and refinements that make it even better. It’s not as radical a departure as, say, the Nintendo Wii controller was, but when your predecessor is so good, you don’t want to mess with it too much. You risk really screwing it up.

Although not without its faults and with room for improvement, this is a fantastic addition to anyone’s PC controller arsenal, providing seamless support for current and retro games alike. If you can play it with a 360 pad, you can play it with this. Highly recommended.

Overall: A-

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

August 11, 2014 by Mike

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.

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.

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.

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.

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.

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.

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.

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.

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.

Review: NES Remix 2 (Wii U eShop)

July 31, 2014 by Mike

Sorry about the lack of a GHG update yesterday. I set out to finish the main portion of this game, and finish it I did. Finally!

Anyway, if you’ve been following the blog or my social media posts over the past couple weeks, you know that I’ve been putting a lot of time into this game. How much is a lot? I just checked my Daily Log, and yeah, I said wow:

At nearly 43 hours in — and I still don’t consider myself done with it — this little $15 eShop title absolutely consumed me. It was really just supposed to be a slight distraction between bigger games like Donkey Kong Country: Tropical Freeze and Nier. Instead, it became one of the most memorable, challenging, and competitive games I’ve ever played.

Now, for those who haven’t played either of these games yet, they are essentially a collection of bite-sized challenges built off of classic NES games, such as Super Mario Bros., The Legend of Zelda, Dr. Mario, Kirby’s Adventure, and Metroid. There are also lesser-known ones thrown in there as well, such as Wrecking Crew, Wario’s Woods, Pinball, and Clu Clu Land.

Each of these games has a variety of different challenges to complete, many of which have time and life limitations. Additionally, separate sub-challenges may be involved that require you to get through different types of obstacles within each title. All of them have a hidden running timer that records how long each one takes, and depending on your time, you are awarded 1-3 stars. If you do particularly well, you get a rainbow 3-star.

Acquiring those rainbow stars don’t really do anything, and they are there mainly for personal satisfaction and bragging rights. You can experience 100% of what both games have to offer by simply getting 3 stars on all of the stages.

Additionally, there are Remix and Bonus stages that can combine elements from multiple games, have enhanced graphics, and change up gameplay mechanics and level structures from what you may be used to. All stages, remixed or otherwise, run the entire range in terms of difficulty. Consider the original game challenges a warm-up for these.

I really liked 2013’s NES Remix, but it wasn’t quite as compelling and enjoyable as its sequel. While game selection certainly plays a part in terms of perceived quality, NES Remix 2 introduces some key improvements that elevate the experience.

My favorite new feature is that your best playthroughs are all recorded, as are those of other players within Nintendo’s Wii U/3DS social network, the Miiverse. This not only lets you share your best times with others, but you can now watch all of those really fast runs from the many talented players out there. While I would recommend figuring out how to best navigate each challenge on your own first, I think it’s a lot of fun seeing how other players achieve such incredibly low times. This helped raise my game considerably.

Contrast this with how it’s done in the first NES Remix, where you can see other times, but not how they were achieved. It gave you a time to aim for, but you had to go onto something else like YouTube to actually see them. Integrating it all into the game itself is an inspired touch.

I’ve noticed that the community is much tighter for NES Remix 2 because of this, even though both games are part of the same collective group. I’ve had a blast sharing my times, along with a slew of doodles I’ve done to go along with them, like these, which I drew for Zelda II: The Adventure of Link, Kirby’s Adventure, and Super Mario Bros. 3:

One thing the NES Remix games lack — and the sequel is no exception — are true leaderboards. The only way to see other players’ times is if they manually post them to the Miiverse. If not, you won’t see them pop up while in-game.

This is too bad. Hopefully if we see future installments, this is something they can add, because it would be great to see how your scores truly stack up against the rest of the world.

Speaking of leaderboards, however, one of the new modes — Championship Mode — does include rankings. This mode, inspired by the 1990 Nintendo World Championships, combines three challenges from Super Mario Bros., Super Mario Bros. 3, and Dr. Mario. You have a little more than six minutes to get through the three games, and much of your final scores comes down to how well you do in Dr. Mario.

The neatest thing I noticed going from the main game’s challenges to Championship Mode is how the skills you learn there translate over. I actually felt like a much better player at all three games as a result. It’s a lot of fun, and after a few tries I’ve already worked my way up into the top 25. I have a long ways to go before I come close to catching the leader, though!

The other new mode in NES Remix 2 is Super Luigi Bros., which is a remixed version of Super Mario Bros. Inspired by stages from the first NES Remix, you take Luigi from right-to-left, along with Luigi-esque physics that really change the way the game is played.

Admittedly, I haven’t played through the entirety of this mode yet, since it’s not all that interesting to me. Championship Mode is, in my opinion, by far the one that is the more addicting of the two.

NES Remix 2 feels a bit easier than the original game. It might be because the games control better for the most part, but I do think they were much more lenient with star requirements this time around. I think this is fine, because the heart of the game is continuing to whittle down and refine your times as much as possible.

If you play the game this way, you’ll obtain all the rainbows relatively easily, but even if you want to just semi-casually 3-star everything, you shouldn’t run into too many issues. This keeps things fresh, moving the whole experience forward at a good pace.

NES Remix 2 is a great game. It represents one of the best values to be found on the Wii U eShop, and is one of my favorite games of the year so far. Highly recommended.

Graphics & Presentation: A-
Beautiful 8-bit sprites with subtle updates in the Remix stages, such as colorful, painted backgrounds. Improved Miiverse integration and newer games give it a more polished feel than its predecessor.
Music & Sound Effects: B+
Clear audio, remixed music, and one particular Super Mario Bros. theme late in the game is especially memorable. The Game Over and Miss sounds are the same as before, though.
Gameplay & Controls: A-
Newer games means mostly better controls, with a couple titles like Wario’s Woods and Zelda II feeling more slippery than they should. Tons of content rewards throughout keep you coming back for more, and additional game modes provide even more to see and do.
Value: A+
If you play to chase high scores, this will keep you occupied for many, many hours. $15 is a bargain for this much gameplay.

Overall: A

Review: Castle of Illusion Starring Mickey Mouse (Sega Master System, 1990)

July 25, 2014 by Mike

Back in May, I reviewed the original Sega Genesis and updated PlayStation 3 versions of Castle of Illusion. While the classic Genesis game is one of the most beloved of the 16-bit Disney titles, its 8-bit Sega Master System installment and two sequels aren’t as well known.

Multiplatform games are a double-edged sword. They are less interesting to me when they’re nearly identical across different consoles. A little extra and exclusive content here and there doesn’t do anything for me. However, when you have games that span across systems of different generations, things can get unique, and if you’re lucky, these ports and reimaginings can match and sometimes outdo their predecessors in certain ways with good design, creativity, and iteration, all on technically inferior hardware. Thankfully, Castle of Illusion on the Master System is a great example of the latter.

Things start off familiarly enough, with the opening story unfolding much like the Genesis original. However, instead of being told via in-engine sprites, the visuals are presented as custom still-imagery that already do a nice job of stepping out of the shadow of its 16-bit big brother.

Two difficulties are included: Practice and Normal. Oddly, Practice is highlighted by default, but I would skip it unless you are totally new to the series or platforming games. It’s a very basic and almost insultingly easy 3-level course that’s over almost as quickly as it starts. Normal is what you want, and contains all the game’s worlds and bosses. The Game Gear version, which is nearly identical to this one, has Normal as its default selection, so I’m glad Sega fixed this for the handheld port.

Obviously, Castle of Illusion on the Master System isn’t going to look as good as the Genesis version, nor should it be expected to. However, I think Sega did a wonderful job bringing the game to life, coming up with a visual design language that makes the world vibrant and fun to look at.

Mickey Mouse himself is animated quite well, with a look that is inspired more by the classic ’30s-’50s style vs. the Genesis design, which is a much more modern take on the iconic mouse’s features and personality.

Mickey also does a lot of the same things I loved from the 16-bit game, such as how he precariously teeters on edges. He does so both forwards and backwards, which is a great touch. Additionally, his tail waves when he ducks, and he’ll look left and right if you pause while climbing a ladder.

All of these little details give the game a nice, high-quality feel, and you can tell that Sega’s artists enjoyed putting time into his frames of animation.

Most notably, significant changes were made to this version’s level design and gameplay. Instead of just copying and approximating the 16-bit level layouts that so many gamers were used to, the Master System stages are more sprawling and exploratory.

Many times, you’re faced with multiple paths to explore, with experimentation being rewarded with extra power, valuable health replenishment, and extra lives. Even if you are just intent on getting to the end of a level, Castle of Illusion does a good job of not feeling linear — like you’re just running straight down a narrow hallway — and go in all different directions.

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The various stages in Castle of Illusion will feel familiar, with forests, caves, toy chests, treats, castles, and clocks all represented. I found the actual design of each level to be of very high quality, with some requiring excellent coordination, providing a surprising level of challenge.

Some areas have an auto-scrolling element, where you have to stay ahead of and get by moving obstacles before you get pushed off the left side of the screen. There are also puzzle elements, false floors, and other traps that are impossible to see and rely on repeat memorization, which are common to that era’s design. They are rarely fatal, but can certainly be annoying.

Mickey still has his tried-and-true butt-bounce attack, but can no longer stock up on apples to be used as projectiles. Instead, he can pick up items throughout the levels to chuck at baddies. The controls to pick up items can feel a bit unresponsive at times, and it led to a good number of unnecessary hits, making that particular game mechanic feel under-cooked.

Items you can pick up can also be used — and are sometimes required — to access out-of-reach ledges, ladders, and other areas. The game respawns these items if you happen to accidentally lose them, but enemies respawn too. I’m glad it works like this, because it’s a much better option than having to lose a life to reset a level’s item placements.

For the most part, controls are sharp, and Mickey moves a bit faster here than he did before. However, precision platforming isn’t his strong suit, and I was frustrated on several occasions trying to make some jumps that would have been a lot easier in comparable platformers.

Hit detection also seems a bit spotty and a bit unforgiving, which can make Castle of Illusion feel more difficult than it should be. It’s not a deal-breaker, but I’d say they’re slippery, and like the item grab mechanic, leads to too many unintended hits on our brave little mouse.

Castle of Illusion‘s bosses are a highlight. They are colorful, large, and can be deceptively troublesome if you’re not careful. Several of them require some rather expert dodging and timing to defeat without losing a life, though, and I think most players will meet their doom several times facing them.

They’re not as difficult as, say, the Mega Man bosses, but they are certainly much harder than the ones seen in the Genesis game, many of which were too easy to defeat.

Speaking of Mega Man, you think some of the folks on the Sega development team were fans of the Blue Bomber’s first game?

Don’t worry, this guy isn’t anywhere near as bad as the Yellow Devil!

The music in Castle of Illusion is very similar to that found in the Genesis version, and it’s perhaps this aspect of the game that saw the least amount of change. There are some different tunes and takes on those classics, but because of the lower quality and less accurate instrumentation, that authentic cartoon feel is somewhat lost in translation.

It all still sounds good, as I’ve always liked the warmth of the Master System’s sound chip, but they come across as a bit too derivative, especially when compared to the big changes elsewhere.

You can probably tell this by now, but if you’re a fan of the 16-bit Genesis original, this is a fairly easy one for me to recommend. It has some weird control quirks and other 8-bit nuisances, but there’s more than enough new content here to make it a wonderfully charming complement to Mickey Mouse’s 16-bit debut.

Graphics & Presentation: A-
Colorful and nicely animated sprites, clean backgrounds, and large, memorable bosses give it a premium feel.
Music & Sound Effects: B
The same soundtrack you know and love, scaled down to Master System standards. Some new additions and solid sound effects round out the game’s good audio.
Gameplay & Controls: B
Tweaked gameplay mechanics and completely new, non-linear level design make it feel like a different game, but loose controls and unforgiving hit detection can be frustrating. Good boss challenges wrap up each area.
Value: B-
A quick game that can be beaten in a couple hours, but it will take additional time to explore and master all of the various branching pathways.

Gray-Haired Gamer

Gaming in my forties

Tag Archives: review

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

Overall: A

Review: Nintendo Wii U Pro Controller (PC)

Overall: B-

Review: Sony DualShock 4 Wireless Controller (PC)

Overall: A-

Artist Spotlight: Travis Bolek

Review: Kero Blaster (PC/iOS, 2014)

Overall: B+

Review: Volgarr the Viking (PC, 2013)

Overall: A+

Review: Microsoft Xbox One Wireless Controller (PC)

Overall: A-

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

Overall: A-

Review: NES Remix 2 (Wii U eShop)

Overall: A

Review: Castle of Illusion Starring Mickey Mouse (Sega Master System, 1990)

Overall: B