There is hardly a more beloved franchise in all of video games than The Legend of Zelda, but though so many of its entries are at or near the top of many players’ lists of all-time favorites, how do each of the titles stack up when pitted against each other? After a lengthy voting process involving several on the staff and a complicated point-tallying system, we here at Goomba Stomp have finally come up with a ranking of our favorite Zelda games. These are not in the order of best to worst but instead, they are the ones we love from least to most! Without further Fi-like explanation, here is the list of Our Favorite Zelda Games:
Editor’s Note: We decided to omit spin-offs and obscure titles and focus solely on the main series. The cover image comes courtesy of Nintendo of Europe.
17. The Legend of Zelda: Four Swords Adventures
Nintendo would have you believe that The Legend of Zelda: Four Swords Adventures is a cooperative game where you can come together with your friends and experience all the joys of dungeon crawling together. In truth, it’s actually a crucible that tests even the greatest of friendships and tempts all players into committing atrocities against their fellow players.
Now, it’s all well and good to just play the game as it is intended to be — but that’s not getting the full depth out it. Oh no. Until you start using the feather to strand your friends across chasms, making it impossible to progress, you haven’t really played. Until you start trapping friends in tiny rooms with bombs, you haven’t lived.
Because, in truth, the game isn’t that hard — especially with four people. What makes it really fun are the resultant fireworks that pop off when the egos of four friends clash together. Did your buddy just nab the item you want? Screw that! Knock him into the void over and over. When he complains, laugh. When your other two friends try to intervene, make them share the same fate until justice is served. Then, after five solid minutes of everyone else begging for mercy, consider stopping so you can move to the next frame. After that, prepare to spend the next five minutes running away from your friends who want to do you harm. It is merely the circle of life.
And that’s why Four Swords is great. Not because of its excellent level design or the cool connectivity between Game Boys and the Gamecube, but because of the way it tricked friends into torturing each other for hours on end. (Jason Krell)
16. The Legend of Zelda: Spirit Tracks
The Legend of Zelda: Phantom Hourglass was a game with good ideas, but held back with a few big problems. Spirit Tracks, on the other hand, builds on its precursor and fixes those problems to end up being one of the finest portable Zelda titles. Though the new system of traveling on your train initially feels more constricting than before, it still provides a sense of exploration and discovery by unlocking railways and expanding the map. The game also has more interesting items for puzzle solving, with the sand wand and the whip being notable standouts. It also offers more in terms of a narrative worth getting invested in.
As is typically the case, Zelda finds herself in a predicament, and though this inciting incident appears to turn her into a ghost, she actually ends up hanging out for the duration of the game as Link’s new companion. As crucial a character as she is to the plot, this is one of the first times where she actually gets to breathe and spend time with the main character who, despite not talking, still shares great chemistry with Zelda. They also allow for some side characters, notably one of the antagonists, Byrne, to have proper character arcs and a backstory.
Though it still has a similar “central dungeon” mechanic to Phantom Hourglass, they don’t force you to trudge through old areas, nor is it attached with a time limit. And with Zelda in her ghost form, she’s actually able to take over the bodies of those invincible monsters from before, which not only makes the game feel fairer, but it also adds a whole new mechanic of managing two characters at once.
It may have come out late in the system’s life cycle, but it’s a solid and underrated title that deserves a second look. (Daniel Philion)
15. The Legend of Zelda: Minish Cap
To be clear, The Legend of Zelda: The Minish Cap isn’t a bad game by any means. It’s not even a game that’s undermined by certain key flaws. It’s a perfectly functional entry that doesn’t betray the design philosophy that the Zelda series is known for. But mere competence can’t make up for the fact that this game is extremely forgettable.
This version of Hyrule doesn’t stand out as a particularly unique world to explore, instead relying on the standard location tropes. The characters bring little to the table, with your new companion, Ezlo (not to be confused with Assassin’s Creed’s “Ezio”), being more obnoxious than endearing, and the new villain, Vaati, lacking the presence of Ganon. Zelda herself also has no interesting role to play beyond being a typical damsel in distress.
The major new idea this game brings to the series is the shrinking mechanic, which may have been interesting if it had been offered with more freedom. In practice, you can only shrink in specific places, which makes this less of a fun new way to explore, and more just as a gimmick to set up specific puzzles.
That said, there are still some clever puzzles, and shrinking does offer a unique perspective. Though it’s a dull boss fight, there’s something to be said about taking those easily killed Chu Chu’s and making it more daunting by changing your size. In the end, Minish Cap proves that there’s more to the Zelda experience than the formula itself; there’s a spark or sense of wonder that they need to incite in the player to make them truly resonate. (Daniel Philion)
14. The Legend of Zelda: Oracle of Ages
The Legend of Zelda: Oracle of Ages is the sister game to Oracle of Seasons, both of which are the portable successors to Link’s Awakening DX. Both games share a lot in common with Link’s Awakening, but each took a different route in how it presented its gameplay, Oracle of Ages focused on puzzles and tried to find interesting ways to get the player to think about their surroundings and their inventory, as well as giving the player a lot of items that interacted with the environment rather than with enemies.
On a personal level, Oracle of Ages resonates with me a lot, as it’s the version I had when the two games originally came out. I remember being thoroughly surprised by the boss of the second dungeon, Head Thwomp, as it was a battle based around timing (something I wasn’t very good at when I was ten years old) and did not require the use of the sword, instead making use of bombs. Many of the boss battles in Oracle of Ages followed this trend of not using the sword as your main damage-dealing item. While today that’s not much of an accomplishment for a Zelda title, when the Oracle games were coming out the series was still establishing its footing in 3D, and many bosses in the top-down games were still focused primarily on sword-based combat. Oracle of Ages also has one of my personal favorite items, the Seed Shooter. Intended to be Ages’ version of the staple bow/slingshot, the Seed Shooter is able to ricochet various types of ammo off walls to hit targets. While this is implemented in some puzzles, it’s not carried throughout the game, and ultimately you can still just stand in front of something and spam seeds like rapid-fire arrows.
The Legend of Zelda: Oracle of Ages is an interesting example of how to experiment with an IP, even if some of its most interesting ideas are not fully realized. (Taylor Smith)
13. The Legend of Zelda: Oracle of Seasons
The Legend of Zelda: Oracle of Seasons is the action game anti-thesis to Ages‘ puzzle-focused gimmicks. Many of the bosses in Oracle of Seasons are reworks or recycles of bosses from the original The Legend of Zelda or other titles. This is probably because when Capcom made their original pitch to Nintendo about working on a Zelda game, it was meant to be a Game Boy remake of the original. Rather than rely on a lot of gimmicks, bosses were more about recognizing cycles and patterns and then punishing accordingly. This focus is reflected in the gear Link can acquire. In Ages, the Seed Shooter allowed for new creative ways to solve projectile based puzzles, but the Slingshot in Seasons serves roughly the same purpose as the Bow and Arrow in any other top-down Zelda.
In order to obtain the true ending in either Oracle of Seasons or Oracle of Ages you would need to link the two games together via a password. If you were lucky enough to own both copies of the Oracles titles it was as simple as completing one game, writing it down, and starting the next, but for the not so lucky it required you to either have a friend who had the opposite title. Thankfully, this problem has sort of been remedied with the two games being put on the 3DS Virtual Console. While Oracle of Seasons was the preferred version here at Goomba Stomp, both titles are great in their own ways. If you’ve yet to play them, I highly recommend checking both out. (Taylor Smith)
12. The Legend of Zelda: Phantom Hourglass
In a many ways, this game should be a lot better than it is. It was the first Zelda game on Nintendo’s dual screen device, and it made use of nearly every feature on the system. The touch screen allowed you to attack enemies in a direct and interesting way, and you were able to write notes on your map screen and chart out your course when sailing across the sea. It also felt a lot more inspired than its portable predecessors by having a much larger world to explore and more out-of-left-field puzzles (including a devilishly clever one where you had to put the DS in sleep mode).
With all that going for it, why then would it be so low on this list? One reason: the Temple of the Ocean King.
The Temple of the Ocean King is possibly the worst/least fun idea of any Zelda game. What it entails is that every time you beat a dungeon you have to go back to this main dungeon to unlock the next area. It’s bad enough that this area is filled with invincible monsters that will send you back to the start of the room after one hit, but in subsequent visits they also have you go through areas you’ve already been to in order to get deeper in the dungeon. It gets very repetitive very quickly and just wastes your time, which happens to be limited here just to add a little more unwanted stress.
It’s also a pity that, in a game’s that meant to be a sequel to the excellent Wind Waker, it has next to nothing carried over from that adventure. The one thing they do carry over is Tetra, who gets relegated to “Damsel in Distress” in the first few minutes. She was an interesting enough character to merit her own game, so having her return just to be taken out of the equation that early can’t help but feel like a letdown. (Daniel Philion)
11. The Legend of Zelda: The Adventure of Link
The second installment in The Legend of Zelda series titled The Adventure of Link is often considered the black sheep of the family. Despite being one of the best-selling games in the entire series, many fans hate it and with good reason. The game is tough and I do mean tough. Players must be prepared for repeated failure when sitting down to play Zelda II, but that is sort of what makes the game so great. The sense of accomplishment a player feels when finishing Zelda II is perhaps unmatched by any other game in the NES library.
The Adventure of Link was a bold and radical departure for the series, but it has its supporters and many fans will argue it is not only one of the five best games released on the Nintendo Entertainment System but the most punishing game of the 8-bit generation. It offers players one of the most engrossing gaming experiences available on the console and features some of the best boss battles the series has to offer. The Adventure of Link was an incredibly assured attempt to rewrite the rules and introduced many elements that would become commonplace in future Zelda games a larger focus on storytelling, as well as sidequests. Yes it is difficult and yes it is different, but for better or for worse, that is what makes it stand out from all the other entries in the series. Zelda II is unique, but frustrating – flawed but brilliant – and without question, an important game that helped define what the Zelda games would ultimately be. (Rick D)
10. The Legend of Zelda: A Link Between Worlds
Nintendo has always been skilled at linking to the past while looking to the future, creating a bridge to franchise evolution, and that philosophy has rarely been better realized than with the 3DS’ The Legend of Zelda: A Link Between Worlds. A sequel of sorts to the seminal SNES classic, this adventure covers basically the same physical ground, but takes much of the established franchise elements of the last 20 years and chucks them out the window. By ditching dungeon rewards and instead allowing players to rent (with the latter option to buy) the hookshot, bow, boomerang, three magic rods, and every other weapon or tool usually reserved as a prize, Nintendo was able to concentrate on what the beloved series used to do best: exploration. The freedom to go wherever one wanted in a Zelda game was a concept so old that it was almost novel, and A Link Between Worlds was a breath of fresh air — at least before the next one came along.
Thanks to impeccable puzzle designs, a lively world full of character, and a brilliant mechanic that sees Link turn himself into a 2D painting that can traverse walls in order to solve puzzles and reach new areas, the game still is. A Link Between Worlds invokes nostalgia in order to mess with fans’ minds, using its new gameplay concepts to twist them into thinking outside the box, producing some of the best “aha!” moments in the series. Gorgeous top-down visuals make the old new again, tight controls are ever-so-satisfying, and a clever story plays on expectations, but The Legend of Zelda: A Link Between Worlds best lives up to its title by bridging the gap between the comforting formula of days gone by and the promise of exciting things to come for Nintendo’s hallowed franchise. (Patrick Murphy)
9. The Legend of Zelda: Skyward Sword
Fans had to know that Nintendo was up to something truly special when they announced that Skyward Sword would officially become the first game in the Legend of Zelda timeline. Fortunately, Nintendo delivered on all of those expectations and more with The Legend of Zelda: Skyward Sword. A game that took the revolutionary/gimmicky motion controls of the Wii to their fullest extent, Skyward Sword is almost worth playing as much as a proof of concept as it is for its breathtaking adventure and wholly original take on the Zelda mythos.
Set among a series of floating islands that eventually give way to a shattered world below, Skyward Sword both echoes the world design of one of the best Zelda titles in history in the form of The Wind Waker, and calls to mind the scale of the Final Fantasy series in equal measure. Throw in some gorgeous art design and one of the most concise plots in the franchise, and you’re left with a truly underrated classic, easily one of the best games in the series. (Mike Worby)
8. The Legend of Zelda: Link’s Awakening
The Legend of Zelda: Link’s Awakening was the first portable title in the series, and is easily one of my personal favorites. It was the first Zelda title to make an attempt at exploring Link’s character beyond that of the boy called to action. For once, Link is not seeking to stop Ganon and save the princess, kingdom, or Triforce. Instead, his is a journey of self-discovery, led by a desire to leave the island of Koholint that he has been shipwrecked on. Much of Koholint is full of life, especially when compared to the desolate wasteland that was the original Legend of Zelda and horribly mangled Dark World of A Link to the Past. It’s a breath of fresh air, with plenty of different-looking areas and regions. Overall, the game’s aesthetics’ are great, and the story they present is something that was only ever (theoretically) tackled again once.
Link’s Awakening was also the first top-down Zelda to make use of jumping. While The Legend of Zelda and A Link to the Past both used pitfalls as ways to impede progress, they never had a clear answer to them. This time Link is granted the gift of jumping from an item called the Roc’s Feather, the very first dungeon item in the game. By combining the Roc’s Feather with the Pegasus Boots, Link could clear even bigger gaps and jump over large obstacles. Link’s Awakening is an amazing Zelda title not only for its plethora of new ideas, but for also setting new benchmarks for later games in the series. (Taylor Smith)
7. The Legend of Zelda
Shigeru Miyamoto’s masterpiece laid the groundwork for almost every action-RPG that came after it, and it has become a staple franchise for Nintendo that is still going strong, 30 years later. When it was released, The Legend of Zelda was a first in so many categories. Not only was it an early example of open world and non-linear gameplay, but it also introduced a battery backup to save your progress. It served as the foundation of many modern adventure games, introducing now-basic concepts like dungeon maps, utility equipment, and boss formulas that we still see used today.
The Legend of Zelda has aged surprisingly well thanks to a brilliant soundtrack, creative visuals and masterfully layered adventure. And while it’s unapologetic in its open world approach, the lack of hand-holding might be what makes it so great. It is, without a doubt, one of the most influential games of all time, and one of the greatest games ever made. It was ahead of its time and it stands the test of time. Very few games can make that claim. (Ricky D)
6. The Legend of Zelda: Twilight Princess
The adult Link portions of Ocarina of Time got gamers’ appetites whetted for a more badass version of the green tunic-wearing hero, one who could stand tall against the inevitable evil forces and whose sword slashed viciously, cutting a swath through them. Wind Waker was not that, and though looked upon now as a masterpiece, its seemingly lighter tone at the time sparked a little rebellion. Fans of Nintendo’s legendary series were growing up, and just like with Star Wars or comic books, they wanted to hold onto their innocent past while also having it reflect their pragmatic present, something that kept in tone with their rising adult pessimism, something truer to the gloomy outlook that only comes with maturity. In short, as eventually happens with everything fun or innocent that fans go crazy for, they wanted something darker.
I was no different in those days, and so when the first images of Link wielding his blade from atop his trusty steed, surrounded by grossly disfigured moblins and bathed in eerie twilight first surfaced, I was instantly sold. Twilight Princess is no kiddie quest with bright flowers and snot-nosed munchkins; there is war, pain and suffering, noble sacrifice, and trippy weird visions of greed, death, and super-creepy-looking laughing girls slowly descending headfirst from the sky. The land has been poisoned and the people that populate it struggle against the shady sickness taking hold. A somber tone pervades throughout to the melancholy end, few moments of true happiness relaxing in the goat paddock found in between.
Never has a Zelda game relied so much on imagery to set its tone, never have the dungeons been so vast and monstrous, and never has the journey seemed so mythic. Twilight Princess feels like everything Ocarina of Time wanted to be, a fulfillment of years of fan expectations. It hosts the best sidekick in the series, the widest assortment of attacks, some of the most clever dungeons (Snowpeak’s crumbling mansion, the Gerudo desert’s Arbiter’s Grounds) and unique items (magnetic boots=awesome, spinner surfing=fun), and a massive amount of gameplay for those willing to explore every nook and cranny tracking down Poes and bugs. I personally have never bothered with Agitha or the golden Jovani on any of my many playthroughs, but it’s nice to know that there’s more going on in Hyrule than just the main quest.
With an epic setting accompanying the tragic feel, Twilight Princess gave fans exactly what they wanted, and in doing so delivered one of the most powerful entries in the franchise. (Patrick Murphy)
5. The Legend of Zelda: Wind Waker
Director Eiji Aonuma’s swashbuckling adventure The Legend of Zelda: The Wind Waker, set 100 years after the events in Ocarina of Time, stands as one of three best games released in the series thus far. Along with the N64 classic and A Link to the Past, The Wind Waker masterfully baits and hooks players with its perfect blend of polished design, tightly crafted controls, and beautiful presentation. Utilizing a completely new look with cel-shaded graphics, the game casts players in the role of a familiar young Link, who sets out on a long voyage across troubled seas, into dark dangerous dungeons and against ruthless foes to save his kidnapped sister. At the time of its release, it was immediately evident that Wind Waker was going to be different from the previous Zelda titles, yet it’s surprising that the grandeur of The Wind Waker‘s bold, thick strokes, lusciously saturated palette, and notably boyish protagonist with his humongous, expressive eyes ever caused so much controversy back in 2003. Over a decade later, the game’s legacy remains defined by its visuals.
Players with keen eyes and an appreciation for art will know that Nintendo doesn’t just do things for the sake of pure experimentation. When developing The Wind Waker, Nintendo not only created a hugely stylistic world down to every last detail, but also pushed the power of Gamecube to do so. Upon closer inspection, cel-shading clearly was the right choice. This is a game that emphasizes the vastness of the open ocean and the open sky, and with the application of cel-shading, every wave, every gust of wind is beautifully pronounced against a backdrop of colorful hillsides, small villages, and coastal locales. And like all previous titles in the series, the dungeons prove to be the most enjoyable aspect of this game, despite having so few. It is in these dungeons that Wind Waker shines. The true beauty of the visuals stands out, as each dungeon is brought to life with an astounding amount of detail. It’s ultimately not difficult to see why The Wind Waker has become something of a classic in the years since its release. Overall it is a huge achievement in every way, with a classic mix of sword-swinging action, perplexing puzzles, stirring storylines, vibrant art, evocative soundtrack, a cast of colorful characters, beautiful melodies, and a fantastic battle system that propels the adventure and exploration. For many, the Zelda brand represents the pinnacle of gaming, and The Wind Waker stands tall, side by side with the very best. (Ricky D)
4. The Legend of Zelda: Majora’s Mask
How exactly do you make a follow up to Ocarina of Time? Well, apparently you do it by making one of the few games in the series that doesn’t involve Ganon, you limit Zelda to one tiny appearance in a flashback, and you all but forget about the Triforce. Don’t be fooled, while Majora’s Mask is a clear departure from the typical Zelda formula, it’s still very much a Zelda game at heart, and to me (and at least a few others) it ranks right up there as one of the absolute best games in the franchise.
Taking place a couple of months after the events of OoT, Majora’s Mask kicks off with our good friend Link searching a forest for an old friend, when he stumbles upon an imp wearing a bizarre mask. The nefarious creature, known as Skull Kid, steals Link’s horse and leads him to a parallel version of Hyrule known as Termina. From there Link embarks on one of his typical quests; there are dungeons to explore, puzzles to solve, and bosses to beat, all standard-fare for the Hero of Time. The game is very similar to Ocarina of Time in a lot of respects, as gameplay between the two is near identical, and Nintendo reused also of graphical assets from OoT, so they share many visual similarities. However, despite all their commonalities, Majora’s Mask sets itself apart with its three-day time cycle, and more importantly, its ominous tone.
From Skull Kid’s creepy laugh during the game’s opening to the eerie final boss battle, Majora’s Mask is equally bizarre and unsettling from start to finish. The first time you witness Link transform when putting on a mask is undeniably jarring due to his screams of pain and the poignant visuals. The Happy Mask Salesmen seems like an ally, but one can’t help shake the feeling that he’s hiding malicious intent, which temporarily seeps out when you make him the slightest bit angry. The ever-looming harbinger of death that hangs in the sky, inching closer and closer as the clock winds down, creates a menacing sense of tension that’s not really present in other games in the series. And on top of all that, perhaps the most disturbing aspect of the experience is the game’s world itself. Where exactly is Termina located? Is it a parallel dimension, or perhaps some sort of purgatory state? Why are so many characters from OoT’s Hyrule also in Termina? The name given to the land makes it seem like it was doomed since its very inception.
As good as Ocarina of Time is, it succeeds by employing a somewhat simplistic and expected tone and pace. Majora’s Mask takes a much riskier route, creating an awe-inspiring yet disturbing world, resulting in perhaps the most unique and mesmerizing Zelda adventure to date. (Matt De Azevedo)
3. The Legend of Zelda: A Link to the Past
How many tales have been told about players popping in A Link to the Past only to be blown away by the game’s opening, an ominous start that begins with a psychic warning of danger, continues through a nighttime thunderstorm, and ends with the death of Link’s uncle and the rescue of Princess Zelda (so soon!) from her imprisonment? Younger gamers may get sick of hearing it, but the reason these moments and something as simple as rain stands out in the minds of those who experienced it at the time is because they were revolutionary, the start of a powerful new kind of storytelling in Zelda and video games in general. Never before had we seen something set such a cinematic mood as those streaking droplets illuminated by flashes of lightning, and from then on a standard was set that see games, for better or for worse, pay more attention to narrative.
But those atmospheric and still-gorgeous 16-bit visuals would have meant nothing if the game wasn’t backed up with an outstanding adventure at its core, and A Link to the Past‘s gameplay and puzzle-solving is where this turning point in the series still really shines. Swinging the sword felt infinitely better than the unsatisfying butter knife that Link wielded in his prior quest, and the various items and weapons acquired throughout were used far more frequently and cleverly. And while the previous entries in the franchise had certainly made their mark with different sorts of takes on exploring the land and battling enemies, it wasn’t until A Link to the Past, that the formula and feel that would define the series henceforth would finally come together. Puzzle-solving became the way to progress through dungeons, the idea of dual worlds or parallel dimensions came into play, and suddenly there were tons of empty bottles to be discovered, including from a guy under a bridge who has an abnormal friendship with birds.
Out of the entire franchise, I’ve easily played A Link to the Past as much as all the others combined, as its efficient pacing and beautiful world are a comfortable joy to return to, where I (unbelievably) keep noticing new surprises each time I take up the Master Sword. (Patrick Murphy)
2. The Legend of Zelda: Breath of the Wild
The Legend of Zelda: Breath of the Wild is a masterclass in open-world design, and with its release comes a true watershed moment in gaming history. The result is nothing less than magical. It artfully blends the best bits of the franchise’s thirty-plus year history and produces a sandbox so full of mystery and so full of adventure, it could take you well over 100 hours to uncover most of its secrets. What we have here is the most ambitious title in the history of the franchise, an epic journey that quivers with anticipation, wonder, surprise and excitement. It never gets old. It never gets tiring. There’s not a minute that goes by in which you’ll want to put down the controller, because Breath of the Wild keeps players constantly curious and fascinated by the world around them. There’s truly something unusually haunting and engrossing about the game, and whatever your opinion on the Nintendo Switch, Breath of the Wild is arguably one of the greatest games ever made.
Since its arrival in 1986, the Zelda series has always pushed the technical boundaries of whatever console it has graced, and Breath of the Wild continues this tradition (times two). Epic, mythic, and simply terrific, Breath of the Wild brings a new kind of experience to fans across the globe. In return, it demands your attention. It’s a landmark in video games such that labeling it a masterpiece almost seems inevitable. In the end, however, most of what makes Breath of the Wild so beloved is Nintendo’s determination to constantly challenge themselves while crafting an unforgettable experience that also doubles as a commentary on the freedom of playing on the Switch. That a game of this magnitude can be playable anywhere you go is a remarkable feat. (Ricky D)
1. The Legend of Zelda: Ocarina of Time
You won’t find a gamer alive who doesn’t remember the first time they played The Legend of Zelda: Ocarina of Time, and there’s a very good reason for that: OOT isn’t just regularly counted as one of the best Zelda games of all time, but it also routinely finds itself in the conversation for the best games ever made. As a trendsetter and pioneering effort for 3D adventure games, action titles and RPGs alike, Ocarina of Time holds a special place in a lot of gamers’ hearts, particularly those who were young enough to have a lot of imagination in them upon its initial release.
It was a game that opened a tiny door in our minds when it first introduced us to a young Link in Kokiri Forest, and then wrenched that door all the way open a mere hour later when we were unleashed onto the full expanse of Hyrule Field and were gifted with a world to explore which was bigger than life. If, through some very strange events, you have still managed to not play OOT then you are doing yourself a disservice as a gamer. With awe-inspiring environments, a cast of memorable characters, a charming story, and one of the most epic adventures ever experienced, The Legend of Zelda: Ocarina of Time is a game that will stick in your grey matter even decades from now, and it is well deserving of its place there. (Mike Worby)
Let us know your rankings in the comments below!
Nintendo Through the Years: 1984
1984 was the year before Nintendo released the NES in North America. Let’s look at the steps the company took in preparation for its global assault.
Ah, 1984. The year that Big Brother was invented (or something like that), and – more pertinent to this article – a year after the Nintendo Famicom was invented. If you don’t know what the Famicom is, shut down your computer, call your parents and apologize for how much of a failure you are, turn your computer back on, read the previous article, call your parents back and tell them you’re on a path to personal betterment, and then come back to my welcoming arms.
1984 was, of course, the year before Nintendo released the NES in North America, and while that may seem like it could render this article as something of a ‘filler episode,’ it’s interesting (trust me) to take note of the steps the company took in preparation for its global assault on the social lives of millions. Also interesting is the state of the industry Nintendo was gearing up to join, as the fallout from 1983’s crash of the North American games industry was very much being felt throughout ’84.
All of that, and more, are coming up, but first let’s have a little chat about a promotion for a certain genius, shall we?
Gettin’ Shiggy With It
Miyamoto was riding high in 1984 (in fact, he probably has been ever since 1981). Fresh off his arcade successes, he was rightly set to swap the barrel-bombarded ladders of Donkey Kong to the bastard-bombarded ladders of the executive corporate world. Yamauchi had previously split his R&D departments into three divisions. Division 1 was run by the hero of the previous article, Gunpei Yokoi; Division 2 was under the control of Famicom designer Masayuki Uemura; and future inventor of battery-saves, Genyo Takeda, was boss of the third. Shiggy was about to get jiggy all over Division 4.
Now in charge of his own division, the Shigmeister was tasked solely with creating games for the Famicom. No more literal monkeying around in the arcade market, this was Nintendo’s new generation of game development, and luckily there was a genius at the helm. One of Miyamoto’s first acts was to hire Takashi Tezuka – who had just finished up part-time work on the graphics of arcade title Super Punch Out!! – as a designer on his first Famicom game: Devil World.
Tezuka graduated from the Osaka University of Arts, where I’m assuming he majored in bullshit, because, despite Devil World playing a lot like Pac-Man, the cheeky git claimed he had no idea what Pac-Man was prior to the development of his own game. And people say millennials are clueless, eh? Apparently, after being the last person in the games industry to play Pac-Man, Tezuka was able to use what he learned for Devil World. If you have no idea what Devil World is, you’re probably from the US. Your lot decided it was a little too ‘Bibley’ for them, so it was never released. And to think the Portuguese got kicked out of Japan for all their Jesus stuff. If anything, it was really progressive for the Far East.
It was a relatively modest beginning on the Famicom for the great Miyamoto, but if you stick around there are definitely some better times for him ahead.
I Got This New Console, Fam
By 1984, the Famicom was pulling up some serious cherry blossom trees, having sold three million units. Not bad for just over five months, especially considering that the console was basically serving as a hub for arcade ports at the start of the year. The console was still some ways from unveiling its killer app, and its output of games in 1984 is a veritable ‘who cares’ of sports games, shooters and arcade ports. You know, the type of shite Nintendo has flooded the NES Online Switch library with so far.
It’s probably a little spiteful to shit-talk the early Famicom titles too much, as they clearly represent a company warming up and setting the stage for an immensely popular console. Among the ‘highlights’ were Clu Clu Land, Urban Champion, ports of Donkey Kong 3 and Pac-Man, and Miyamoto’s second Famicom title Excite Bike. It’s interesting to look at the earliest console video games, because so many of them were firsts in their genre that they required almost little-to-no salesmanship. 1984 boasted titles with such linguistic acts of poetry as Tennis, Pinball, Golf, and F1 Race. Truly unforgettable.
All was going well at home, but Nintendo was looking to join the big American party, so it needed to put the feelers out. Nintendo had sought to tempt Atari to bring the Famicom to the US the previous year, but Atari couldn’t cope with it in the aftermath of the ‘83 crash. Their next steps to breach the US market was to tour the Famicom – ‘cunningly’ titled as the ‘Advanced Video System’ – across American trade shows. In the wake of the market crash, Nintendo decided that it should try to advertise it as a home computer rather than a dirty, stinkin’ console. To complete the disguise, they unveiled it alongside a keyboard peripheral; most likely to compliment launch title Family Basic. Naturally, this ruse was about as convincing as a giraffe in dark glasses trying to get into a “Polar Bears Only” golf club, and the Advanced Video System was laughed out of each and every building.
The Hunt Begins
Not all Famicom games released in 1984 were arcade ports or one-word descriptions of sports, as the biggest title of the year – certainly in terms of pushing the system towards breaking into the American market – was Duck Hunt. Y’know, ‘cause guns. Not my opinion, people, the opinion of Nintendo.
We all know the game by now, you and your doggo pal are out for to cull a flock of ducks, and rightly so, as their numbers seem to have skyrocketed to an almost infinite amount. Your canine chum will dive into the tall grass to flush out the poor bastards, and you lay waste with by pointing your light gun at the screen and getting triggered. Literally.
The Japanese version of the game is an interesting one, in that its light gun is very different to NES Zapper we’re all accustomed to here in the west. Resembling an old west six-shooter, it perhaps spoke to the misjudged impression of rootin’ tootin’, gun-slingin’ American consumers. Someone clearly pointed out that, come time to release the NES in the US, marketing a replica revolver to children was a bit much – especially with the growing number of US cases involving the replica guns being used in actual crimes in the late ‘80s – hence the grey laser blaster we all know and love.
Also, you can shoot the dog in the Japanese version. So, yeah, probably best you don’t give impressionable American kiddly-winks handguns and let them shoot their virtual pets, eh? Either way, Duck Hunt and the light gun began to convince Minoru Arakawa that the Famicom could be marketable in North America, even with its market in tatters. Speaking of which…
A Harsh Mistress
One can’t talk about Nintendo in ‘the year after the year before’ without checking in on the sorry-ass state of the rest of the video games industry, if you could even call it an industry in ’84. Fresh off the ET incident of ’83, Atari was in a right old state. ColecoVision was putting the graphics and arcade ports of the 2600 to shame, and the 5200 wasn’t backwards compatible with 2600 games, even though Intellivision II was. Launching as it did with little more than updated versions of 2600 games anyway, it was a disaster.
As a result, fed-up Warner Communications Inc. were pretty much done with the whole home video game scene for losers. They got rid of the whole lot – selling off Atari IPs, the Atari logo and trademark, and even inventories of Atari home video game hardware and software to Tramel Technology. This effectively split the company, as while Warner Communications closed its domestic video game and computer divisions, it retained the arcade division – renaming Atari Inc. to Atari Games. Tramel themselves gave Warner permission to do this, while renaming themselves as Atari Corporation. You got all that?
All this buggering about strongly hampered the release of Atari’s upcoming console, the Atari 7800 (originally known as the Atari 3600). After the initial Californian release of the console in June 1984, The Tramel sale meant that plans to mass market-release the console were shelved a month later. The reason for this? If you think it’s not nonsensical corporate silliness, then you’re really underestimating mid-80s Atari.
The 7800 was developed by General Computer Corporation rather than Atari themselves, which was a great cost-saving measure in that it cost them absolutely nothing… because nobody paid them for it. Tramel owner, and holocaust survivor, Jack Tramiel assumed his initial takeover payment was going to cover the debt, but he was sadly wrong. He ended up relenting and paid GCC in 1985, with the 7800 releasing nationwide in May 1986.
If I Can Make it There…
Nintendo loved their home console, and so did Japanese consumers. The global potential was there, and they were desperate to crack North America. They were ready, but the market, especially the retailers, wasn’t, so they needed a way to dip a proverbial toe into foreign waters rather than adding another passenger to a sinking ship.
Enter the Nintendo VS. System. Initially devised by Yamauchi as a way to update Donkey Kong and Mario Bros. cabinets, these multiplayer arcade cabinets would be fitted with beefed-up versions of Famicom games and shipped to the States. About 30 different games were released from 1984 into the following couple years, including Super Mario Bros., Tetris, Dr. Mario, Ice Climber, and Duck Hunt.
Obviously, releasing games in the arcade before porting to the home wasn’t exactly a lightning-in-a-bottle new idea, as it had been done throughout the decade already, but Nintendo was well aware that North American kids were still ploughing quarters into arcade cabinets, and this was their way to hook them for what was about to come next. To say it worked is an understatement, but we’ll get to that next time.
12 Years in the Zone: ‘S.T.A.L.K.E.R.: Shadow of Chernobyl’
Like Dark Souls, Shadow of Chernobyl can be hostile, unfriendly, and off-putting.
Near the road, listening to campfire blues. Someone’s guitar gently weeps as fellow wanderers shut their eyes. Irradiated monsters await nearby yet nothing matters now but this safe space of camaraderie. The poetry of this moment is how missable it is. Players are not asked to contemplate it. There is no dialogue and no cinematic; it does not end a sidequest or activate one. Just slouching men resting to music. Tomorrow will see them again on some Ukrainian wasteland, searching for valuable artifacts sometimes guarded by unspeakable fiends. Another day in S.T.A.L.K.E.R.: Shadow of Chernobyl.
Open world games tend to have pacing problems, partly because players are the ones who set the rhythm. There is usually a central plot thread crisscrossed by dozens of optional tasks. It can often happen that the latter are a distraction while the former is boring. But what if an open-world game had both excellent additional content – missions worth completing, quests worth undertaking – and an intriguing story that led players through a path of increasing complexity and tension? And what if, despite a plethora of options, the gameplay were consistently fun, intense, and gratifying, without lulls?
That game exists. 12 years ago, Ukrainian developer GSC Game World released what remains one of the moodiest, most frightening and distressing videogames ever made, a reimagining of Roadside Picnic, the celebrated science fiction novel by the Strugatsky brothers that inspired the similarly beloved 1979 film by Andrei Tarkovsky, Stalker. The European studio took elements from their predecessors – the geopolitical and economic aspects of one, the mystical and existential dread of the other – and spun their own brilliant version.
Book and film were released prior to the Chernobyl disaster, but have henceforth been linked with it. In Roadside Picnic, extraterrestrials briefly touch down on our planet before continuing their journey elsewhere, leaving their trash behind. These alien objects are basically magical to human beings, so they’re sought after by both military and black market dealers. Which is where the “stalkers” come in, sneaking into the fenced-off landing sites, or “zones,” in search of fantastic loot. Tarkovsky trimmed most of these specifics and retained only the idea of zones – where supernatural incidents may or may not be happening – and of the stalkers who infiltrate them, no longer for loot so much as contact with the transcendent and sublime. After the nuclear plant near Pripyat broke down in 1986, sending radioactive material all the way to Italy and Moldova, the subsequent Chernobyl Exclusion Zone was inevitably associated with the aforementioned.
GSC Game World amalgamated these sources, from page, screen, and history, and mixed them up with first-person conventions and open world mechanics. Players control The Marked One, a wounded stalker who wakes up right outside the Zone. Like dozens of videogame protagonists before him, he’s lost his memory. But he has two clues to his identity: a tattoo on his arm and a helpful note on his PDA: “Kill Strelok.” As players uncover his past – and inevitably advance towards Pripyat and Chernobyl – they also discover what’s befallen the neighborhood. As it happens, a second meltdown left behind a landscape of radioactive patches; deadly anomalies; strange artifacts that sometimes come packaged with inexplicable perks, like increased endurance; mutated animals; zombified former stalkers; and what can only be described as hellspawn.
Linear progression, from the outskirts of the Zone to the infamous plant, is married to typical open-world nuts and bolts. There are factions in territorial disputes, which players can ignore or get involved in; random people who ask random favors, some of them exceedingly dangerous, the sort they should never expect a stranger to accept; and those awkward notes only people in videogames seem to leave behind, with precise indications to treasures and weapons.
Players can effortlessly juggle main and side quests, and all of them are compelling because of one simple reason: not the plot, not the dialogue, not the lore, but the environment. No matter where players go and why – to track a lost family rifle, find a hidden stash, meet someone – the whole adventure of getting there is rife with dangers and memorable encounters.
Early on, some players may be tempted to run across the fields, face reddened by the afternoon sun. But such bucolic saunters are promptly interrupted by the million and one things out there in the Zone. Step over a hill and you may inadvertently stumble into a radiated anomaly, everything around you quivering like a mirage as you’re jostled left, right, and away from your computer in righteous indignation. Stand under a tree and a pack of ravenous dog-things may decide to play fetch with your legs. Crash an abandoned house and you may discover it’s occupied by gun-happy bandits. Get distracted and your head may be blown off by snipers so far away they might as well be camping in a different videogame.
Shadow of Chernobyl is savage. It’s up there with some of the classics of anxiety: System Shock 2, Alien: Isolation, etc. They don’t trade in jump scares. Opponents are too deadly, too smart. They don’t need the element of surprise, though they nevertheless often possess it. Players can sneak or engage, but neither is easy. Gunfights can be chaotic and messy – especially when faced with growling, cloaking, hunched, bloodsucking mutants. And they’re just the entrée in this infernal banquet.
Patience tends to be the best tactic. Approach every corner like you would a gate into your worst nightmare. Don headphones and listen for the clicking of your Geiger counter. Recognize danger areas and bypass them. Clothe yourself in midnight darkness. Love open spaces, fear ruined cities and manufacturing plants, and treat underground laboratories like battles for your soul.
Like Dark Souls, Shadow of Chernobyl can be hostile, unfriendly, and off-putting. The most innocent stroll can quickly devolve into a breathless struggle against radiation poisoning, human aggression, and posthuman otherness. Players come to cherish infrequent resting spots and watering holes, like the 100 Rads bar, where they can relax, nod to the mellow instrumental beats of “Gurza Dreaming,” drink to dearly departed stalkers, and chat with patrons or the barman. Then it’s back outside, to deteriorating industrial territories crawling with monsters or swamplands infested by the undead.
For the unacquainted, the appeal of such a grueling, stressful experience can be difficult to understand. But veterans get it. Videogames that offer such a continuous all-embracing challenge are teeming with life, despite or maybe because of the constant proximity of virtual death. Each square mile is a self-contained epic. There are no dull stretches of nothing between waypoints or mission locations. Each surface can either hide horrors or shield you from them. To put it fancifully: the entire digital world is activated, burning with interactive possibilities, like a heat map on fire, everything the red of potential or ongoing activities. Such videogames demand absolute, unyielding attention, and can be exhausting. But in retrospect, players might realize that, while scouring Ukrainian wreckage, they were more aware, more awake, more in-the-moment than in other, less demanding titles. And that feeling is worth more than the price of admission – and of lost sleep.
‘Judgment’ Review: No OBJECTION here
Judgment is so well written and localized that it fully deserves the level of recognition that any standard Yakuza game gets.
Ryu Ga Gotoku Studio don’t make perfect games; they make special games. Anyone with a vested interest in the developer’s Yakuza series will be well aware of the cult-level of fandom that surrounds these quirky, violent, and gripping titles. Despite the hugely increased Western exposure Sega’s given these games in the current generation, being a fan of RGG Studio’s work still feels like something of an exclusive club for those who ‘get it’; those who can embrace the weird and wonderful world of Kamurocho and its oddball denizens. As a spin-off (of sorts) with the same virtual setting, and built in the same game engine, Judgment probably won’t be signing up too many new club members, but those already ingratiated into the insanity will find a lot to love.
Judgment may be set in Kamurocho, but its plot is completely new and doesn’t have any links to the Yakuza titles. Players take control of Takayuki Yagami, who’s currently working as private investigator after his first, and only, criminal case as a defense lawyer saw him secure the acquittal of a murder suspect who, upon his release, went on to kill his own girlfriend. ‘Tak’ runs the Yagami Detective Agency alongside his partner Masaharu Kaito, a former Yakuza member of the Matsugane family. Because of course there are Yakuza in this game.
Considering series protagonist Kazuma Kiryu is rarely ever actually in the Yakuza, the Japanese gangsters probably have about as much of a role as antagonists in Judgment as they always do. This time, as well as constantly starting fights with Yagami, the Yakuza secure their role in proceedings via the distinction of being murdered by a serial killer and having the eyes gouged out of their corpses. In their quest to uncover the truth, Yagami and his partner find themselves fighting – both figuratively and very, very literally – against myriad foes, including a variety of Yakuza clans, the local police department, prosecutors, the Ministry of Health, journalists, and more.
Being a private investigator means Yagami can’t focus on just one serial killer to pay the bills, and there are 50 side cases to fill out the lengthy main plot. They’re mostly brilliant, genuinely intriguing, typically hilarious, and stuffed full of the type of risqué material that has become a staple of RGG’s games, and Polygon writers’ nightmares. It’s pretty standard for one of these games to present an incredibly complex and dramatic plot supported by utterly ridiculous side quests, and for the non-sensationalist fan this is both a mandatory inclusion and the source of countless memorable moments. I’ll certainly never forget roping a vampire into doing community service, or chasing down a bald male idol’s “hat” (see: wig), only to have him apologise and explain that, “it’s a really fast hat.”
It can be a little jarring to see so many shockingly sex-related story beats end with well-meaning humility, but the writing quality of RGG consistently bails them out of controversy. The women of Kamurocho are almost constantly being stalked, harassed, or just plain paraded in front of horny salarymen. It seems that RGG is aware of the outside world’s perspective of this facet of modern Japanese culture, and is often quick to condemn anything that could, and should, be seen as out-of-touch. They could, of course, just take it all out in the first place, but where’s the fun in that? Yagami is the player’s window into the debauched world of the Tokyo underbelly. His insightful reactions humorously pick apart this questionable culture in a way that likely mirrors your average westerner’s attempts to fathom characters like Ass Catchem and Judge Creep ‘n’ Peep.
Yagami can gain boosts by both drinking and smoking, engage in illegal underground gambling, have four girlfriends on the go at once (which I did purely for the trophy), and is absolutely not averse to smacking seven shades of Shichifuku Street out of anyone who messes with his cause for justice. You know what, though? If Judgment, and the Yakuza games before it, didn’t throw open this window into wacky Japanese culture with the enthusiasm that it does then it just wouldn’t be credible, and would be a damn sight less fun. It might be shocking, but it’s a truly joyful experience that pokes fun at itself with snappy, witty writing and a bevy of interesting characters completely devoid of tired tropes or insipid dialogue. It’s all turned up to 11, and that’s why I love it.
Being built in the Yakuza 6 engine ensures that general gameplay feels, well, pretty much exactly like Yakuza 6. Naturally, Yagami has his own unique fighting ability – which he employs a darn site more than he does any actual detective work – that consists of two styles: crane and tiger. Crane is a faster, more agile fighting style and is recommended to be used against large groups of mooks, whom you’ll be squaring off against 90% of the time. Most of the EX special moves for this style are focused around crowd control, whereas the tiger style is better suited for one-on-one battles (aka bosses) and is a much more visceral and power-based approach.
There are tons of potential weapons lying around all over the city, including the obligatory bicycles, and Yagami has easily some of the best EX special moves of all RGG’s games. Befriending local shop owners allows for context-sensitive help, usually in the form of some variant of burning hot food to throw in the eyes or force down the gullet of some hapless schmuck. Better still are the tag team moves available whenever Yagami has a buddy in tow, and the cherry on the icing on the cake is the traffic-based finishers – one of which is probably my favorite of all time.
It’s not all fighting, though, and the main appeal of Judgment is in its potential for a more methodical, puzzle-based, detective campaign. It’s, unfortunately, a potential that isn’t as well-realized as many would have hoped. There are a couple of lock-picking mini games which are completely unremarkable (and barely used after the first couple of hours), a scene-analyzing first person mode used to dig up clues, and a tailing mechanic. The latter is employed the most by far, and my word does it get boring by the game’s end. Slowly walking after a target that will routinely turn around out of trepidation is not fun, and it’s made even less fun thanks to the wonky hiding mechanic that supposedly lets Yagami duck behind obvious cover points to avoid detection.
I say obvious cover, but I believe that my definition of obvious differs from that of the developer’s. Sometimes a car will be cover, other times it won’t be, and you’ll be stuck standing with head poking over the top of a car smashing the circle button expecting Yagami to do the thing he’s done dozens of times before. Same goes for certain light boards and walls. It’s basically a crapshoot that often left me running around in the open like a total maniac, and an obvious one at that. For some reason, each target has a meter that tracks how much they’ve noticed the really conspicuous man flailing around behind a car and knocking people over, so if that meter never gets filled then you can just duck behind whatever bit of cover is the correct one and they’ll react like they didn’t see a thing.
Okay, Maybe a Few Objections…
The biggest disappointment is that it leaves Judgment feeling like another Yakuza game with a few uninspired additions rammed down your throat, rather than the standalone experience it tried to market itself as. The detective angle definitely works from a story perspective, but it barely alters the gameplay in any meaningful, or satisfying, way. Unless you count flying a drone directly upwards to press X by a second-floor window, or wearing a disguise to walk into a room and press X by someone you want to spy on.
Undeniably worse than the misstep of not fully utilizing the investigative elements is the inclusion of the Keihen Gang invasion events. These happen way too often, and are guaranteed to always abruptly halt whatever story process you’re making. They essentially boil down to the owner of a Chinese restaurant (I have no idea why) texting Yagami telling him that the Keihen Gang are back causing mayhem, and you’re then left with a threat meter to try and whittle down.
I say try, but you’ll basically be forced to do this, as Yagami will be jumped by goons every 20 seconds or so, and there will be up to four gang leaders chillin’ on random corners waiting for a good ol’ fashioned, mano a mano slobberknocker. These bastards all have the ability to deal mortal wounds to Yagami, which manifest as a permanent health drain that requires an expensive medical kit to remove. Yay. It’s a completely needless bit of padding that can really spoil the flow of player progress. Worse still, the rewards for fighting them off, and the overall impact on the game’s narrative, are completely negligible and not worth anyone’s time.
Time is something that you better have ready if you’re wanting to fully beat Judgment, as anyone familiar with the Yakuza series will already know. I beat the game after just over 50 hours, completing all but three side quests and missing a couple of the 45 friends Yagami can make in the city, and that was still only listed as 63.7% completion. Kudos, as well, to the new drone races mini game, and the brilliant arcade ‘light gun’ game Kamuro of the Dead.
You certainly can’t complain that Judgment doesn’t offer value for money. In a world where most games are intent to charge real-world money for extra character skins or maps, Judgment is content to take your initial investment, throw a 50-hour campaign at you and still make time to include a full version of Virtua Fighter 5.
When all’s said and done, though, Judgment lives by its story, and what a story it is. Ryu Ga Gotoku are operating at an absolutely astounding level right now. Their consistent flair for creating truly nasty bastard villains, infinitely likeable antiheroes, excellent character development, believable relationships, snappy dialogue and jaw-dropping drama is, for me, completely unparalleled. Add that to the flawless Japanese voice cast, and the considerable work that the best localization team in gaming has to put in, and it’s a truly incredible piece of work.
Judgment has all the nonsense of a typical RGG game, but it’s all offset against an impressively modern and intelligent narrative that expertly piles a lot of emotional weight onto the notion of true justice. It questions the role of a defense lawyer, weighing up the value of finding the truth vs. simply disproving the prosecution. It also raises the very topical issue of uncovering the truth against those who wish to stifle it for ‘the greater good.’ It’s mature, it’s gripping and it’s genuinely thought-provoking. Fundamentally, this will last a lot longer in the memory than some dodgy tailing mechanics. Not perfect, then, but undeniably special.
Judgment isn’t quite the Yakuza-meets-Phoenix-Wright we were hoping for, but it’s held together masterfully with the recognizable formula of terrific fighting mechanics, a jam-packed open world, and an incredible story starring yet another brilliant protagonist. The game is so well written and localized that it fully deserves the level of recognition that any standard Yakuza game gets.
The Good, the Bad, and the Missing in ‘NBA 2K20’ Initial Rankings
After perhaps the craziest free agency in NBA history, 2K Games has released their top twenty player ratings for the upcoming NBA 2K20. Let’s take a look at what they got right, what they got wrong, and who’s missing.
What They Got Right
Russell Westbrook (90)
I’m about as big of an apologist for Russell Westbrook as you can find. During his time in OKC, Russ delivered a virtuoso performance nearly every night. He’s averaged a triple double for three straight years, is perhaps the best rebounding guard in NBA history, and has proved that he has the ability to take over games when needed. However, his lack of outside shooting and questionable decision making prevent him from taking the leap to the next level.
Jimmy Butler (88)
Jimmy Buckets found his way to Miami this offseason vis-a-vis a sign-and-trade with Philadelphia. The 29 year old small forward is one of the League’s toughest players, with an ability to hit shots in the clutch, create his own shot in isolation, and overpower his opponents in the post. However, the high number of miles ran under coach Tom Thibodeau in Chicago and Minnesota combined with a so-so three pointer keep him firmly planted in the 80s.
Paul George (93)
Despite finishing third in MVP voting last season, there’s still one major question surrounding Paul George. Can he stay healthy after surgeries on both shoulders in the offseason? In last year’s playoffs, he struggled in OKC’s five game loss to the Blazers, looking nothing like the MVP candidate that had, at times, carried the Thunder over the course of the season. Despite some concerns about his future, George is still one of the League’s best two-way players, a characteristic that his 93 rating accurately reflects.
What They Got Wrong
Ranking LeBron James (97) higher than Kawhi Leonard (97)
I guess being the best player on the planet for well over a decade, making eight straight NBA Finals, and starring in Space Jam 2 gives LeBron the benefit of the doubt. However, at this point in his career, it’s clear that LeBron, at least in some ways, is declining. Wracked by a major injury for the first time in his career last year, LeBron showed that, despite what we’ve seen, he is mortal like the rest of us. There’s not that much of an adjustment to be made, however, and a 96 would have been perfect.
Ranking James Harden (96) higher than Steph Curry (95)
For as good of a player as James Harden is, from his highlight plays in isolation, to his great three point shot and incredible ability to get to the line, he’s not a better player than Curry. Despite concerns about his size, health, and overall durability, the fact remains that Curry is a two-time MVP who led a team to a 73 win season and he deserves more respect than he’s often afforded.
Ranking Kyrie Irving (91) higher than Klay Thompson (88)
For all that he’s done, from delivering the biggest shot in Cleveland Cavaliers history to leading a locker room meltdown in Boston last year, Kyrie Irving is an amazing player. However, ranking him significantly higher than Klay Thompson doesn’t make any sense. Thompson is one of the League’s greatest shooters, a locker room blessing, and an effective team player: things Irving isn’t at all. Ask yourself this: who would you rather have on your team?
Where is Ben Simmons?
For all his flaws, including an incredible lack of a jumpshot, off-court issues, and questions of passion, Ben Simmons is a top 20 player in the NBA. A 6’ 10” forward who handles the ball like a guard with an incredible ability to finish around the rim, Simmons deserves a higher ranking than aging players like Blake Griffin or similarly unproven talents like Karl-Anthony Towns. With a ceiling as high as his is, he needs to be recognized more than he is.
What are your thoughts on NBA 2K20‘s ranking? Sound off in the comments below.
‘Mario Maker 2’ Online is a Beautiful, Chaotic Mess
First off, this should come as no surprise to anyone. Nintendo has always had a long and convoluted history of poorly crafted connectivity in their first-party titles, but this one may take the cake. Even with its stellar reviews and tremendous sales numbers, it is safe to say that Mario Maker 2’s online coop and versus modes are nowhere near as polished as they should have been for Mario’s first foray into online gaming. In all, Mario Maker 2 online is a beautiful and chaotic mess, suffering from connection and gameplay issues that damage the experience; however, there are moments of fun and brilliance that ultimately make it an addicting and rewarding mode worth spending time with. For what Mario Maker 2 online lacks in connectivity and user experience, it makes up in charm and pure fun. It’s odd, weird, and I can’t get enough.
Mario x 4
Super Mario Maker 2’s online mode is built on a very simple idea: throw four random players into a user-created level and let them platform their way to the finish. It’s the classic Mario formula multiplied by four, and it sounds like a spectacular time in theory. In versus mode, it’s first to the flag to win. Players can take the quick routes and run as fast as possible to the finish or opt for a safe approach and snag powerups or sabotage enemies. To ensure that a good time is had by all, players are ranked based on wins and losses and paired with other gamers of similar skill levels.
In coop mode, Nintendo fans are encouraged to work as a team in order to get the squad to the finish line, making for a much less stressful experience. Instead of slamming people out of the way, there are much more sharing powerups, making room on platforms, and working as a team involved on the way to the goal. Often times, games can take interesting turns as players get bored or maniacal, but co-op is a relaxing and stress-free experience for the most part.
When it works, Super Mario Maker 2 online is a ridiculous amount of fun, and possibly the best online experience on the console. It’s Mario, online with strangers, and it is crazily addicting. With very minimal loading screens, games that only last for around a minute and thirty seconds, and a goal that is always just within your grasp, you will constantly find yourself wanting just another go. It’s a simple, fast, and accessible drop-in multiplayer that is low risk and high reward, and it is easy to pick up and play for five minutes or five hours.
It’s A simple, fast, and accessible drop-in multiplayer that is low risk and high reward, and it is easy to pick up and play for five minutes or five hours.
That being said, this all comes with a really huge asterisk, because Super Mario Maker online rarely works perfectly. Here’s why:
Lag Time Makes for a Bad Time
In my experience, one out of every four connections in Mario Maker 2 online seems to suffer from essentially game-breaking lag. It is hard to tell if it is related to the internet quality of other players or the complexity of the level designs, but you can tell from the very start of a match that the game has literally dropped to a frame a second. This lag turns every game into a slow-motion slog through some user-generated level created with precise platforming mechanics in mind, and generally, these lagged lobbies end in a time out with no victor. With reaction time, precise movements, and careful jumps being an essential part of Mario, a smooth and streamlined experience is needed to appreciate the franchise’s magic.
At first, these laggy levels might seem really comical, as everyone was moves at a same snail’s pace, but the novelty quickly wears off once a 280-second game lasts around 8 minutes. The only way to make it through is to hope that someone gets fed up and backs out, usually resulting in an immediate rush as things launch back into full speed.
To make matters worse, the wins and losses from these lagged out versus matches affect the player rankings in the online matchmaking, often unfairly damaging the user’s stats through no fault of their own. There’s an option to have no positive or negative outcome if the experience was unsatisfactory and you back out mid-match, but it’s hard to gauge when is a good time to do so.
Game Mode Woes
Mario Maker 2 online also suffers from some seemingly shortsighted decisions in the levels that versus mode pushes on players. The best Super Mario Maker 2 online levels are short, simple, and relatively easy, although the game often places players in matches with clear conditions or bosses to defeat, and keys to collect before the goal can be touched. This often results in some unfair and sneaky moves on the part of other competitors, as usually everyone can advance once the clear conditions are met by a single player, leading some players to just wait by a door or flag until someone else can snag what is needed. It can also be frustrating when levels require a Yoshi to complete, and the Maker has only left a single Yoshi on the level for four players to fight for. One person gets it, and the other three are forced to wait until that player either wins or falls in order for the Yoshi to respawn.
While there is a rating system for levels after each match, Nintendo could just simply filter the multiplayer levels a little better, eliminating most with clear conditions and bosses. These could then be thoroughly vetted by the community by being tagged as a ‘multiplayer approved world’ before it is dropped into the versus playlist.
The Goal Pole
Even with these gripes, I’m still constantly brought back to the insane, chaotic, and addicting nature of Super Mario Maker 2 online. It’s odd, weird, incredibly addicting, and I just can’t stop playing. Even though it can be a chaotic mess, the title makes up for it in Mario magic and delight. Although no one can say for sure if Nintendo will be able to fix some of these gameplay and connectivity issues with future patches, it is possible that later updates could polish the Mario Maker 2 online into the best feature on the Switch. For now, it’s still first to the Goal Pole. I’ll race ya.
Goomba Stomp is the joint effort of a team of like-minded writers from across the globe. We provide smart readers with sharp, entertaining writing on a wide range of topics in pop culture, offering an escape from the usual hype and gossip.
Contact us: Editor@GoombaStomp.com
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