Review

Victories in Hallow Knight are Anything but Empty

Chris Leave a comment

As you know, I am a big fan of the Nintendo Switch. I like to find games I can play on it and, as it happens, most of the highly rated games on the Switch are platformers. As I’ve said before, I love platformers and metroidvanias in particular, which means I’ve had my eye on Hallow Knight since before it came out. I’ve had it on my Steam wishlist for well over a year and, when it looked like the internet was going to be out for a while, I downloaded it during the brief periods when the internet was working. That was the best decision I’ve made this month.

Hallow Knight is basically just another metroidvania. You start out in a basic world with a jump, an attack, and the ability to heal yourself. After that, you slowly unlock abilities that let you progress through the game until you reach an end determined by a couple of factors. You move about in a two-dimensional plane, avoid stage hazards, and fight off enemies using a combination of your basic attacks and unlocked abilities to get around the special qualities of the enemies. When it comes to gameplay, its nothing super special. It’s fun, but there are better examples of gameplay innovation and quality. While it is fairly standard in those terms, it makes it’s mark because every other quality of the game is extraordinary.

The plot is fairly simple, you’re a knight who was called to complete some kind of quest. You don’t really know what, but you find yourself drawn to the ancient, ruined city of Hallownest. There, you find a cadre of characters, all of whom adhere to the “bug” theme your character starts, who make their lives supporting the numerous people who feel called to explore the dungeon or call it their home. One of the first I met was a map-maker who quickly set the tone for there being something a little off about the world and the people in it. As you defeat enemies and rescue these little worm guys, you start to notice blobs coming out of some of the enemies you defeated and then encounter enemies who had giant sacks of the stuff which they fire at you like little orange bombs. While exploring, you meet a few more characters who subtly work in references to a wonderful world lost and the eventual corruption of everyone who stays in the city for too long or who goes too deep. There’s more to the plot, of course, all of which is revealed through little hints or statements by the more peaceful denizens of the dungeon. I don’t want to spoil it, since I was more interested in digging up little nuggets of the plot, themes, and history as I played than I’ve felt while playing any game since Celeste.

While you’re working through the world, you’re making your way through a world of black, white, and grey tones that manage to brightly portray a world of gloom in a way I’d never thought possible. Occasionally, a splash of color shows up as some enemies explode into orange blobs or shoot little orange spheres at you. Occasionally other color shows up in the environment, like when you find a giant blue crystal that, when shattered, gives you temporary hit points. Other times, it’s something like a mine with light purple crystals scattered throughout or the worm creatures you rescue. Each time you see color, your eyes and attention are instantly drawn to it as it shatters the beautiful gloom of the greyscale environment you get used to between blooms of color. Setting color aside, every visual in Hallow Knight is absolutely incredible. The characters feel so alive and even the background stands out in its incredible variety as you try to find your way through the various rooms. Even though everything is notable enough that you never really feel lost or like you’ve just walked through the same room twice, it still all blends together incredibly so you know that the mine and the courtyard with the small palace in it are definitely a part of the same place. The game also makes incredible use of the foreground, having your character walk behind a whole range of things as you move from one place to another, but never in a way that you lose sight of your character.

Despite the fact they fit into the grey-scale, gloomy environment so well, none of the enemies are hard to spot or difficult to figure out. Occasionally a boss throws a new move into the mix as you chip their health down or their attacks start having secondary effects, but they mostly have pretty clear modes of attack and methods of movement that are nevertheless a challenge to work through without injury. Because of the way your character gets bounced back when it attacks an enemy, it can be difficult to avoid falling in the pit full of spikes and avoid running into the enemy as it is charging toward you. You have to push forward, toward the enemy, just enough that your bounce doesn’t send you off the ledge to your death but not so much that you run into them and get hurt. Throw in the variety of enemies and the way they mix them up, it gets to be a challenge to make sure you’re fighting each enemy the right way.

While you’re fighting them, the somber music in the background doesn’t change, though it somewhat fades to silence. When it comes in, it starts slowly, changing from simple environmental sounds accompanied by the wind to a rather simple but sad music that does an amazing job of representing the area you’re currently in. As time goes on, the music adds more, interjecting small sections of brighter notes to contrast with the quieter, more morose ones. It never changes abruptly and, even when I went to listen specifically to the music for this section, it was so subtly and perfect that I almost didn’t notice the change.

If you like metroidvanias and you haven’t played Hallow Knight, you’re missing out on incredible artistic masterpiece of a game. I recommend you pick it up and let yourself experience it at a comfortable pace. This game begs for a slow, methodical play-through and I recommend you play it in a dim room with little other noise so you can fully immerse yourself in the experience.

I Finally Saw Hamilton

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On Tuesday of last week, the twenty-eight of August, I got a notification on my phone I had always dreamed of getting but never expected to actually get. I had won the Hamilton lottery and could purchase one or two tickets to see the show in Chicago on the following day. Needless to say, after spending two minutes freaking out, I bought two tickets and then started going down my list of people to invite. Unfortunately, my first pick was busy since it was his first day back at work (as opposed to cleaning up while on the clock) following the flooding and he couldn’t get the day off to drive to Chicago for a matinée showing. Thankfully, one of my roommates was my second choice and he was able to get the day off. So I went. Even with eight hours of driving due to traffic and construction, it was worth it.

Hamilton, Lin-Manuel Miranda’s big-hit musical, was the most beautiful thing I’ve ever seen. I cried throughout it, not just at the emotional moments, of which there were many, but whenever the writing, acting, vocal work, staging, and lighting came together to create these wonderful little moments of perfection. As a whole, the musical showcases some of the most clever writing I’ve ever seen and sets aside the tried-and-true method of weaving songs together for one that relies more heavily on certain phrases that are the best foreshadowing I’ve ever witnessed. Between the moments where the songs themselves pull you out of the show, to impart some useful historical information or to help move things along, I was caught up in a world of song and voice. I can’t remember what the people who sat in front of me looked like, despite the fact that I spent three hours staring over their shoulders. I lost sight of everything while the show was in full swing. I was more caught up in this show than in anything else I’ve ever seen, read, or done. The full three hours of the show passed in a blink, interrupted only by an intermission that felt longer than either half of the musical.

While I can’t speak about the show in a general sense, since my only experience with it was the specific show being performed in Chicago, I honestly can’t imagine how it could ever be done poorly. The set was fairly standard, a level stage with an upper deck the actors could reach using a couple of on-stage staircases or some off-stage ones, and mostly functioned as a place for more of the chorus to dance and sing from, though it was used to add emphasis for some characters during important moments. The set was used entirely for staging, for dictating where people moved and how actors showed up on stage. All of the scene-setting, all of the environmental stuff that told you where the bit the actor were currently performing, was done entirely through lighting and the clever use of props. Using stuff like tables, desks, stools, and various similar things, they were able to create everything from a tent in the Revolutionary War to bedrooms or open fields. The best part of the staging was their use of a two-part turntable so one group of actors or props would spin one way and another group would spin the other way. They used this to amazing effect in one of the songs during the second half of the show, “Hurricane.” It blew me away and created the images that have stuck with me the most.

Honestly, the entire show was memorable. Each moment felt perfect, each little bit of acting and each scene being set felt like it was perfectly natural and complete, like it was unfolding on stage the way it certainly must have unfolded in the eighteenth century (with perhaps some liberty taken for language). I’ve been listening to the soundtrack since I got back into my car after the show and I feel like I can sit back, listen to the amazing music, and rewatch the entire show in my head. Each of the actors stood out from the crowd in their own ways and there was no wasted movement as they made their way around the stage. It was super clear they had the practiced precision that comes with repeating something dozens of times, but the emotion and energy they put into the show felt like this was their first night in front of an audience.

I don’t want to go too deeply into the content of the show because I avoided everything from the music to plot summaries for almost three years before I finally got to see Hamilton and I’m so glad I did. The sheer wonder and powerful emotion in some of the songs would have created scenes in my head and I would never have gotten the chance to see the show for the first time without any expectations or preconceptions. It was worth the years of denial for that moment when the lights dimmed and the first actor walked out on stage. I know it’s probably too late to recommend that you do the same thing, but hold on to that abstinence if you’ve managed to stay away so far. The music is magical and there are scripts out there you can read, but the show itself is better by far and worth waiting for.

What I will say is that it’s a relatively modern take on Hamilton, specifically it reflects modern scholarly opinions of Alexander Hamilton and some of the other Founding Fathers. The music is pretty Hip-Hop centric, which is another way it’s modern, but it seems like a pretty accurate portrayal of history, with the only liberties taken being in the way the characters spoke to each other rather than how situations resolved. I did some research to confirm this and it’s as accurate as a couple hours of reading can show. I’m sure a dedicated historian could shed more light on the subject, but I don’t have the time for getting another bachelor’s degree before writing this review.

I suggest downloading the Hamilton app so you can participate in the lottery or, if you’ve got a bit more money to spend, buying tickets the normal way. No matter where you see it, no matter who you see it with, it’ll be one of the most memorable days of your life. I suggest you go invest in enriching your soul.

UnEpic Was the Opposite of Mundane

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Do you like RPGs? Do you like the idea of having a fully customizable character you can turn into a super-specialist or a jack of all trades without having to sacrifice character effectiveness?  Do you like Fantasy that is aware of the typical tropes and has a delightful mixture of falling in line with said tropes and standing them on their heads, both in such a way that it makes even the most tired trope feel fun an exciting? Do you like all of those things and side-scroll action, too (AKA, a “Metroidvania” style game)? If you answered yes to all of these questions or found the potential combination of them intriguing, then I have a game for you to try out!

UnEpic is all of those things and more. It is a side-scrolling RPG starring Daniel (at least, that’s the name he gets in the promo materials, you get to name your character when you start the game but that’s mostly for save file reference), a typical video gamer who got transported into the game when he went to the bathroom during one of his first ever tabletop gaming sessions. He finds himself in a castle and, deciding someone must have slipped something into his drink or food, decides that he’s hallucinating so blithely wanderings further into the castle. After a few rooms, he happens upon an evil spirit (AKA Zera) that tries to possess him, but it fails to do anything more than get stuck in his body. As he moves deeper into the castle, slowly becoming convinced he’s not hallucinating, he eventually figures out what he needs to do in order to get home. As he does, there are a number of humorous scenes as he and the dark spirit sharing his body try to trick each other. Daniel wants help navigating the castle and the spirit wants to kill him so it can leave his body and inhabit another that it can actually control. Daniel usually comes out on top since, ultimately, it is up to the player to decide whether or not to follow the Spirit’s advice, and the spirit is initially only trying to get Daniel killed. As the game goes on, the Spirit starts mixing in actual help with the incorrect instructions, making it much more difficult to figure out what is good advice and what isn’t.

As he explores the castle and learns more about what it’s going to take to get him home (and it’s fairly early that he learns he has to defeat the lord of the castle), he find money, items or gear, and magic to help him on his way. A lot of it is fairly typical fantasy fare, stuff like swords, bows, heavy armor, and more specifically named stuff like “Tunic of the Ranger” that makes you better at using bows and even unique stuff like Excalibur and an axe you get for, uh, helping out Goblins during mating season. Did I mention this game requires you to enter your age when you navigate to its page in Steam? Definitely not a game for young children, what with the references to sex, alcohol, and drugs. Fun fact, it’s also on the Switch now and plays even better on the handheld, wide-screen glory that is the Switch than it did on the computer.

Anyway.  As Daniel explores the castle, he discovers he needs to defeat the lord of the castle and, in order to do so, must free 8 light spirits from their prisons. From there, it’s all finding keys, exploring secret rooms, trying not to get murdered by traps, and finding the right gear so you can kick as much ass as possible while trying to figure out how to make it through rooms that randomly drop rocks on your head and through dungeons where every door you find is locked by a key that isn’t the one you just picked up. For the most part, in terms of gameplay, it’s nothing special. It’s fun, light-hearted take on dungeon delving is what makes it stand out. There are games with smoother controls, more intuitive interfaces, better layouts, and better levels, but this one hits the “satirizing fantasy” niche better than most similar games I’ve ever played.

The protagonist’s video gamer roots show in the way he tries to address his problems and the game’s mechanics catch him and any similar players off guard when it starts to introduce a lot of rules more commonly associated with tabletop games like Dungeons and Dragons. For instance, skeletons take (slightly) reduced damage from swords and spears, but extra damage from blunter weapons like maces or clubs. Bows require targeting for enemies that aren’t straight in front of you, which can be a little frustrating because you might have to cycle through available targets before getting to the one you want, but the fact that you can miss a slug crawling across the ground when firing straight ahead is the first real evidence you get of the game’s excellent hit-box management. Never will you take a hit you feel you shouldn’t have taken and never will you hit something unless you see your weapon enter into the enemy’s model. It can be incredibly risky to use a close-range melee weapon since that requires getting within striking distance of most of the enemies in the game, but they usually do more damage and have better bonuses or stats than spears and bows.

It’s a fun game with relatively simple mechanics that don’t take long to pick up and really start to flow smoothly once you get used to swapping between items in your shortcut menus and rapidly targeting enemies with ranged attacks while avoiding the enemies closing in on you in melee. It even has a ton of fun little references to other games and media liberally sprinkled throughout. Some of them have been a little obfuscated in the Steam and Switch versions (the only versions I’ve played, but I read a few articles about it while trying to figure out if the spirit’s original name was a reference to something) for copyright reasons, but most of them are still there. There’s even one a few minutes into the game, when you fight your first enemy. I won’t spoil it, but it really sets the tone of the game.

If you’ve got ten bucks (or less, if you get it during a Steam sale event) burning a hole in your pocket and want several hours of relaxing dungeon exploration, I recommend checking out UnEpic. It’s not going to blow your mind, reveal the secrets of the cosmos as they relate to your inner-most heart, or make you acknowledge the secrets hidden deep inside that you won’t even admit you’re hiding to yourself (we’ll leave that to Celeste), but you’ll have a good time as long as you don’t mind a bit of a bratty protagonist who keeps getting shown up by the evil spirit possessing him.

Exposition X And X Narration X The X Anime

Chris Leave a comment

For those of you who aren’t familiar with the Anime Hunter X Hunter, the title of this blog post is reference to how the show titles all of their episodes. And also a reference to the two biggest parts of the show that might as well be characters. In terms of story, Hunter X Hunter is an adventure show about a young boy joining an elite group of dangerous people called “Hunters” in order to find his father who abandoned him when he was a baby. Gon, the abandoned hero, makes a few friends along the way and constantly impresses people with his superhuman strength and sense until he complete his exam, becomes a hunter, and is introduced to the world his father inhabits, a world filled with people far stronger than him which exists a step removed from the world he used to know. To be specific for those wanting to look up this anime, I’m reviewing the much longer series that premiered in 2011, rather than the earlier and shorter series. That’s the one my roommate introduced me to, the same roommate who introduce me to My Hero Academia, so I’m not entirely sure what to make of his taste in Anime anymore.

Now, to be entirely fair, he didn’t talk Hunter X Hunter up nearly as much as he talked up My Hero Academia. He admitted there are some serious issues with the later episodes and that it isn’t as strong as some of the other ones he’s recommended, but it has held a special place in his heart for a long time and it’s actually pretty fun to watch. It has frequently defied my expectation when it comes to the story and I’ve enjoyed watching a large number of the crazy characters in this show wind up being surprisingly sane. An assassin bonds with his son, a martial arts instructor acts to help a pair of young fighters who are in over their heads, and two incredibly strong children are actually children who play around and get up to trouble between being ridiculously overpowered. It’s very refreshing to see it stray away from a lot of the more frustrating adventure anime tropes and to create an insane world occupied by sane people.

If it weren’t for two things, I’d love this anime. As it is, they are making it difficult to enjoy the show at times. If it weren’t for the constant exposition, often delivered by going over events that just occurred multiple times, and the steadily increasing amount of narration, I’d definitely recommend this anime to everyone who doesn’t mind ridiculous fights, stupidly powerful characters, and a hero whose main weapon is a fishing pole with an apparently unbreakable line.

While the show is rather complex, introducing some really fun concepts like the Hunter organization, a plethora of unique animals who inhabit an incredible dangerous world, magical beasts of all kinds who live in the same step-removed world as the incredible strong people, and some rather complicated and open-ended powers called “Nen,” it gets really bogged down in the details. When Nen is introduced, they just go over it countless times. While initially peppered my roommate with questions about how Nen works and what it means, the Anime answered all of those questions and more. Multiple times. In one episode. There’s literally a point where we watch a fight, get one guy’s ability explained to us in exhaustive detail by his foe as a means of psychological warfare, see the end of the fight, get the other guy’s powers explained in excruciating detail as a flashback aside by a mysterious healer who came to fix him up, and then go over them again as the hero and his friend learn about Nen from the kind man who has taken them under his wing. I was so bored and the flashback felt like it took an entire episode. If this was the first time this had happened, where the show went over ground it had just covered, I’d forgive it, but this is becoming a theme.

In the same vein, the amount of narration is getting tiring. While there is a narratorial voice who sets up and concludes each episode, the show itself does a ton of narration through the characters. In writing, there’s this phrase, “show, don’t tell,” that’s supposed to help people keep in mind that they should show the characters acting rather than just narrate through a scene. This anime does both. It shows and then it tells like it didn’t show you just a minute ago. This is heavily tied to the exposition I mentioned since the worst of it, the flashback exposition, is handled by a character narrating whatever happened. There are much more natural ways to show what happened. Heck, if they’d just gone over the fight as the two young heroes learned from their teacher and explained it all that way, it still would have made sense and then it would have been explained in a place it made sense to talk about what happened. I’ll admit that I just watched this happen a couple of hours before writing this review, so I’m still a little frustrated and steamed with the show.

I’m still going to watch more of it, though. I’m willing to sit through some odious exposition and unnecessary narration in order to find out what happens next. While the characters motivations are fairly basic–finding a father, getting revenge for the death of your family, financing your education so you can become a doctor, and trying to find meaning outside of what you’ve always been told you’re meant to be–the show explores them in a rather novel way. Gon wants to find his father, but he’s not in a hurry and he is very much committed to living his own life even if that means setting aside his quest to find his father for a while. Leorio, the teenager who looks like an adult, is willing to risk his life and harm people in order to become a doctor who can afford to freely give out the medicine that would have saved his childhood friend’s life. The child assassin, Killua, will kill whoever he needs to in order to explore life as a normal kid with friends. Kurapika, the last surviving member of his clan, will sacrifice his own life if it means getting a shot at a member of the band of thieves called the “Phantom Troupe.” Of them all, Kurapika’s story is the most cliché and ordinary, but he’s an angry child trying to take out a group of the strongest people in the world and the show has already proven that it’s not afraid to let the stars get the crap kicked out of them so I have high hopes he’s not just going to “fighting spirit” his way to victory. Not that there’s anything wrong with it, but I’m a little bored of the trope. Just a personal preference thing, but it feels like it’s often used to let a character set up to be weaker than someone else win a fight they shouldn’t be able to.

I’d recommend watching the show for the characters, the interesting world, and the plot, but make sure to keep the remote handy so you can skip forward a bit once the boring exposition and narration shows up. Also maybe don’t watch every episode because I’ve heard the narration gets terrible toward the end. I don’t know for sure yet, since I’ve only watched thirty-four episodes. If the show changes a bunch before I stop watching, I might do a second review. There’s certainly been enough show in the episodes I’ve seen so far to justify doing a second one once I’ve watched more. I barely touched on the Hunter organization, the crazy exam people need to take in order to become Hunters, and the insane people who run it in a surprisingly formal and normal–if deadly–way. Let me know if that sounds interesting to you. I always need more stuff to review.

With much Gravitas, I Must Admit I Fell for Gravity Falls

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Like so many of my favorite TV shows, I heard about Gravity Falls from a friend of mine I met in college. She’s an artist (you can find her on Twitter or visit her website) who does some amazing art, so I recommend you check out the stuff she uploads when she gets the time during her incredible busy weeks. We met through shared creative writing classes and it feels like she’s been after me to watch Gravity Falls since then. For whatever reason, and I honestly don’t have even a crappy one, I didn’t watch the show until recently, when I saw it recommended to me in an email from Amazon. Apparently, it just came out on Blu-ray.

The first thing I noticed as I started watching the show was the unbelievably high quality of the animation. In the theme song, there’s a sequence where one of the characters waves his arms around in fright and the smoothness of that action took me by surprise. I quickly realized it was a Disney cartoon and I felt much less surprised. As I continued to watch it, though, my mild surprise turned to awe as I took in the incredible amount of detail that went into each episode and the series as a whole. The background is full of little details and there’s so much you’ll miss if you don’t pay attention. There’s foreshadowing, secrets to unlock, and always something new or exciting to see if your eyes happen to drift away from the central action. And that’s just the animation! There’s even more of all of that in the writing.

From the beginning, I was taken aback by the show as it subverted my expectations. Almost every time I expected something to happen beyond the triumph of the protagonists in the end, I was pleasantly surprised as the story twisted in a new direction. As the show drew me in, pulling me into the show so completely I completely set aside my expectations, I marveled at the hidden depths of the show. On the surface, the show is about a pair of twins, Dipper and Mabel Pines, who were sent to spend the summer with their great-uncle (or “Grunkle”) Stan who runs a tourist trap called the “Mystery Shack” near the town of Gravity Falls, Oregon. Dipper finds a mysterious journal, written by an unknown author, containing the secrets behind all of the weird stuff happening in this quaint little town. Their first episode includes an encounter with gnomes, their first explorations of the forest around their Uncle’s shop/home, and sets the stage for the rest of the show as them trying to deal with some supernatural situation that Grunkle Stan seems to know nothing about.

Unfortunately for me, the rest of the show was only two seasons. Fortunately, the creator intended it to only last two seasons, so there’s no rush to finish the plot in time nor is there any unsatisfying moments where some villain escapes or something unlikely happens so they can stretch another season out of the story. Everything is incredibly well paced and the plot does an excellent job of doling out twists so there’s a constant, steady progression of their quest to resolve the issues arising from Dipper’s constant meddling in the supernatural. Even better, there’s a constant stream of puzzles for the viewer to solve and little ciphers hidden throughout the episodes for the careful observer to discover that add an extra layer of depth to the show as a whole. They’re a lot easier to solve once you’ve watched the whole show, but they’re worth attempting the first time through since they provide a little commentary about the show as the episodes pass. This, more than anything else, shows just how meticulously planned the show was. No one just drops a code into their story without a good reason to do so. It’s too much worth, otherwise.

Now, to be entirely fair to Dipper, he’s mostly messing around with the supernatural in order to learn about the stuff he sees happening around him. Dipper often serves as the engine to push the plot forward and, given his obsessive and curious nature, is probably the most appealing character to all of the mystery and conspiracy buffs who got pulled into this show by all of the hidden messages. He’s friendly but shy and often requires a push in order to voice his thoughts or take action when there’s a threat. Thankfully, he has his sister for that. Mabel is bright, colorful, cheerful, and almost always the reason Dipper acts. Whether it’s because she needs his help, she’s been giving him a hard time about something, or because she’s cheering him on, she brings out the best in Dipper. At the same time, she can also challenge Dipper because she’s much sillier than he is. She has a tendency to act without thinking ahead but draws people to her side with her charisma and friendliness. As a team, they’re nearly unstoppable. Mabel is my favorite, though. I honestly don’t know how anyone could prefer anyone else given her sunny nature, the way she loves everyone so openly, and how she sees the best in everyone she encounters. Though, if someone picked Dipper instead, I’d understand given how frequently he sacrifices for his sister’s happiness and the determination shows when it comes to solving problems or saving his sister from some problem she inadvertently created.

When the show starts, the Pine twins are twelve and it shows. They have childish crushes and approach the world with the sort of wide-eyed wonder that most children have. Some of the older characters–mostly Grunkle Stan–use it to dismiss their adventures as nothing but wild imaginings, but we get to see them grow not just in character but credibility as their childish, open-minded nature is often what saves the day. Even better, we get to see them grow individually, using each other as foils as they slowly shift from whiny and self involved to confident and empathetic. It’s the best game of leap-frog I’ve ever seen. And not only do they grow and change, but you can see the impact they have on the people around them. They soften the hard edges of their Grunkle Stan, help Soos the repairman grow in confidence and capability, they redeem bullies and give everyone the chance to show their true self rather than the one-dimensional caricature they appear to be at first.

Honestly, I can’t recommend this show enough. There’s plenty of great humor in it from the little jokes we all love to some clever breaking of the fourth wall that reflects the community that sprang up around this show as it originally aired. They ride that line that Disney practically invented, of having a mixture of humor so the show appeals to both children and adults, so there’s something for everyone to enjoy. If you’ve got the money, I suggest buying the DVDs or Blu-ray of Gravity Falls, or at least watch it online in any number of places like Hulu or through a digital purveyor like Amazon.

Oh, just in case that wasn’t enough to convince you to check it out, Nathan Fillion makes a few appearances and it’s just amazing when he does. Watch it now.

So, I heard You Like Goblins

Chris 3 Comments

If you enjoy Dungeons and Dragons comics but are not reading Goblins by Ellipsis Stephens, I honestly don’t really know what to say to you other than “you need to go read this amazing webcomic” repeatedly, until you actually go read it. I’m totally willing to make an attempt at figuring out how to explain why, but I what I really wanted was to give you the chance to bail out now so you can experience the entire saga without my interpretations, analysis, and commentary in the way of an unbiased first read-through. I suggest you go do that because people who enjoy stories and/or Dungeons and Dragons will find something to love.

The first thing you’ll see when you start the comic is a disclaimer explaining the art progression. This comic has been decades in the making, from initial conception and first pages to now it has slowly progressed through a complex and layered story with an end I can’t even fathom. Each page in the story is rife with potential and you’ve never sure when something is foreshadowing or just significant in the moment. As time passes and the story progresses, so much of what came before shows up again as a reference or as the comfortable repetition of a story slowly winding its way toward the climax. Where most stories are depicted as line graphs, straight upward movement through the beats of a story until it reaches its apogee, “THunt’s” Goblins is best thought of in three dimensions. while it shares the same upward climb of all good stories, the path is more circular. Each of the plots, the smaller stories taking place involving different characters, in the comic covers similar ground as they wind their way up a mountain, passing by each other as they go, sometimes without even realizing that their journey is overlapping with someone else’s. In the beginning, you’re not even sure they’re climbing the same mountain. Only by piecing together the various elements of the stories or finding the right bits of foreshadowing can you tell that they are. Or, you know, if you’ve already read it. Then it gets pretty clear.

As far the plot goes, it starts simply enough. There is a village of goblins preparing to be attacked by a party of adventurers. The Goblins are the initial focus and we get a peek into their daily lives that does more to humanize them, so to speak, than we get of the adventuring party when we meet them. While both groups are set up somewhat neutrally, the Goblins get the benefit of more jokes and more attention early on, so they wind up as the sympathetic party initially. It doesn’t hurt that they comic is named after them, either. When we see the adventurers finally get to the village who is ready and waiting for them, it becomes clear that the Goblins are just defending themselves. There’s even a moment where the survivors of the battle call it off because they realize just how horrible this fight is.

From there, as both groups deal with loss and the residual anger of their conflict, they go their separate ways and we begin to see the shape of the larger story being told. All we get is a series of paths unfolding in front of us and hints at the detail of the journey ahead of us. The story slowly builds a cast of characters with their own motivations, alliances, and beliefs about the world, sending them all in separate directions to grow and pursue their parts of the narrative. While the pace is rather slow for a story of this size, an unavoidable result of creating it in comic form, the actual beats of the story are incredibly well placed when you go through the archives. Stephens is an incredible storyteller and her comic is a testament to it.

In addition to her storytelling prowess, she’s also one of the most inventive world creators I’ve seen, given the amount of concrete detail and mechanics you can find in the parts of her world that don’t come from Dungeons and Dragons. She has mixed stuff brought straight from Dungeons and Dragons with stuff she’s adapted from various fantasy settings, and it all fits in seamlessly with what she’s created from scratch. The most impressive part of the story, in my eyes, is how smoothly she’s fitted every piece of her world together. There are no bumps, no cracks in the road that cause you stumble or doubt as you read. You can clearly see how the world works as a result of fourth wall humor and what we’d call “out of character” comments in a Dungeons and Dragons campaign. All of the characters seem to know they’re in a world that obeys a bunch of mechanics you can study and manipulate using numbers or simple declarations. While no one talks about the numerical results of their rolls like they do in some D&D comics and they don’t strictly adhere to the basic rules you’d find in a D&D book, you can easily tell that they’re still in what we’d call a game world. Still, it amazes me constantly how well that knowledge fits in with the world, even when they’re arguing about what skill they’d use to cross a river because they’re making different skill checks to get the same result (as a result of their different attribute scores).

Aside from the petty arguments about how they crossed a river and why someone has such a huge attack bonus despite being at a lower level,  they also cover a range of difficult topics. Stephens doesn’t shy away from the horrific when she details what some of the less-than-savory (and downright fucking awful, goddamn that was a sadistic bastard of a shitstick) characters, but she draws clear lines between what is good and what is evil that are much clearer to the reader than they seem to be to the people in story. At least, to some of them. One of the big themes of the story is the nature of Good and Evil. Like in our world, most of Stephens’ characters believe themselves to be the good guys. Unfortunately for us, they’re often not actually Good. It takes a long time for Stephens to give us her idea of what makes someone Good or Evil, but it’s worth the wait. We’ve been given enough time to see the true natures of tons of characters across the spectrum and we even get to see some characters change alignment. So, when she finally gives us the definition, we can see how all of the characters fit into it and we won’t have to struggle with how Good people can sometimes come into deadly and often angry conflict. In a truly great moment that’s relatively recent in the comic, Stephens also shows us the struggle to define Good and Evil in a way we can consistently rely on and how difficult it can be to actually live up to that definition without abandoning what we’d all call sensible precaution.

Honestly, I started the comic for fantasy battles and Goblin Adventurers, but I’ve stuck with it through the years because of the complex storytelling and the way it covers difficult issues. I don’t have a problem waiting however long it takes for this comic to finish because I know it’s going to be amazing. I hope you enjoy reading it and I hope you get as much out of it as I have. There’s so much it has to give, I can’t imagine anyone coming away from it without something to think about.

My Favorite Family

Chris 1 Comment

One of the first webcomics I ever read was Brawl in the Family by Matthew Taranto. I honestly can’t tell you which comic number I started on, what year I started, or even how I found out about it, but I know it was one of my “original” webcomics. I got used to my daily routine of typing in website addresses to check for updates with this comic and I still automatically start typing the address for Brawl in the Family, or “BitF,” in some days. Unfortunately for me, the comic hasn’t updated in almost four years. Thankfully, that was a choice made by the creator as he moved on to other things and he was able to give it the ending he desired.

Brawl in the Family started about three months after Super Smash Bros. Brawl, or just “Brawl,” came out and was mostly about the characters from that game, though a lot of the comics featured Kirby initially and, ultimately, they were not restricted to only the characters in the game. They eventually adopted a sort of expanded “Nintendo-verse” to include a ton of Nintendo characters that never appeared in a Smash game and the occasional non-Nintendo character who showed up in something with a Nintendo character. While the comic tends to feature the characters on their own, doing gags or stories involving mostly their respective worlds, the fact that Brawl included characters from a huge variety of games and worlds allowed for a lot of hilarious single-strip crossover gags and huge, world-colliding story lines.

Brawl in the Family started a gag-a-day comic drawn by a man with a dream of telling funny stories about Kirby eating things. There wasn’t much plot to start, beyond the low-key animosity King Dedede, Kirby’s main villain in some of his games, feels toward the plucky pink ball of suction. Even that isn’t a constant as the one-off events of the webcomic eventually paint a picture of a growing friendship between the penguin-esque creature that is King Dedede and the small round master of destruction that is Kirby. There isn’t much plot beyond the individual stories, but there’s tons of continuity. Characters often depicted as shallow caricatures find elements of humanity and develop a surprising emotional depth under the guiding hand of Taranto (which, coincidentally, wound up actually being canon).

Honestly, if I had to pick one thing about this comic that I had to endorse above all else, it would be the alternate canon that Taranto creates in the comics. Kirby and King Dedede are enemies, but only sort of, in official Nintendo canon. Taranto takes that a step further by making them begrudging (at least on Dedede’s part) best friends who have more in common than you’d think at first glance. Samus and Captain Falcon are actually in a serious relationship that’s working out pretty well for them. Mario is still a plumber, Meta Knight used to look like Kirby, Waddle Dee (a copy/paste minion of King Dedede) would be an even more ruthless and awful king than Dedede ever pretended to be, and Waluigi is almost sympathetic. Hell, in stuff Taranto has done since the end of the comic, Waluigi actually is sympathetic.

I’ve always been a little leery of a lot of “fan canon” because of the level of ownership a lot of people display over their favorite characters and intellectual properties. You only need to look at the shit-show that is the vocal minority’s reaction to The Last Jedi to see how an excess of attachment can lead to some really disgusting behavior. Taranto, though, makes the characters his own but still manages to acknowledge that they belonged to someone else first and they belong to everyone who wants to share in the joy they bring to the world. He creates his own canon in the expanded Nintendo universe he’s pulled together but always acknowledges, mostly in little ways but sometimes in big ways, they the characters have a life outside of his comics.

When it comes to the topics of his comics, he covers everything from Kirby eating something weird and turning into something weirder to the delicate balance between hero and villain when molding young heroes. There are abusive men on power trips, women who save themselves, the unending question that is Birdo (seriously, look her up), and a healthy fascination with Solid Snake’s disturbingly well-depicted buttocks, all without ever going beyond a PG rating. That’s pretty impressive for a guy in his twenties (as Taranto was when he created this comic) given that I can’t seem to go a single blog post without swearing all over the damn place. There are comics about pushing kind people too far, the strength of friendship, the redemption of minor villains, and the power of song when it comes to depicting the troubles of the villainous. Because not only Does Taranto go from rough, blue lines and a basic depiction of the characters to a wonderfully shaded comic in high detail using mostly shades of blue, but he creates musical comics and songs for a lot of his major milestones. They’re hilarious, incredibly touching and, if you see the loneliness inside Waluigi that makes him lash out at everyone around him in an effort to garner some attention because no one cares about him even when he’s not being awful, tear-inducing. Yeah, I’ll admit I’m a little over-invested in Waluigi, but Taranto gives him a great deal of tragic depth despite there being almost no canon information about him beyond the fact that he shows up for sports, parties, and racing whenever the Mario crew gets together.

In addition to the stories he creates for these characters, Taranto also takes on a lot of the classic “video game webcomic” tropes and ideas in what feels like an exciting and fresh way. In one, Mario jumps on a Goomba and has to look on from the sidelines as that Goomba’s family appears to mourn him and hold a funeral for their dearly departed. The Thwomps are clever, Koopas throw their own shells, there are countless jokes about all of the weird power-ups Mario gets in some of his recent games, and Link never once speaks a line of dialogue aside from a few inarticulate shouts. Despite occasionally leaning on a lot of the common knowledge of most people who’d find his comic, Taranto does a great job avoiding relying on it to the point that less-versed people wouldn’t get his jokes. If he makes a particularly obscure reference, he usually has a helpful explanation in the text post below the comic and there you can see just how much he loves the games he draws and writes about. Reading this comic for any amount of time makes it incredibly clear just how passionate he is about these games and it is incredibly infectious.

If you’re looking for a completed Webcomic to look through, enjoy gag-a-day styles, and don’t mind wading through less-than-stellar artwork before you get to the really good stuff, I can’t recommend Brawl in the Family strongly enough. You may not enjoy every minute, but it’ll take you on an emotional journey beyond your expectations of a video game webcomic based around a bunch of character beating the tar out of each other.

U.S. Football in the Future

Chris Leave a comment

It all started with a tweet. I’d been browsing Twitter while waiting for my pizza to finish cooking and one of the people I follow closely had retweeted Jon Bois’ tweet (the one linked above, if you haven’t looked at it yet). Curious about what some random guy though the future of football (specifically, U.S. football which shall be referred to as “football” in the rest of the review) would hold and interested because of what seemed like a bit of a weird comment in the retweet, I decided to click the link. I caught a glimpse of something weird further down the article and wasn’t quite sure what to make of it. Thankfully, I resisted the urge to scroll down for a look and, instead, started reading the article to figure out what was going on. When I finally started scrolling down, I had a moment of panic followed by several long minutes of confusion. Thankfully, everything became clear in time.

Honestly, I recommend you go look at that link if you haven’t already. Just go, read through the first bit of the article linked in the tweet, and then follow through until you’ve got to click on something to get to the next part. The first steps of this journey were so much fun to discover on my own that I don’t want to take that away from you. Go, click the link, and then come back here once you get to the end of the first bit and you can then read the rest of my review without worrying about having anything spoiled for you. Seriously. I’ve only got so much ability to take up space here before I run out of things to say and get down to writing the rest of this review which will include spoilers. Well, spoilers for the first part. After that, I won’t be revealing any further spoilers and, honestly, this story doesn’t really have spoilers. There’s no major mystery to be uncovered, no real plot to develop. It’s an article. A think piece. Something to make you wonder.

AND EVERYTHING BELOW THIS LINE IS GOING TO SPOIL THE FIRST SECTION.

Because the entire thing is a story about the purpose and changes to football for an imaginary future set some 15,000 years in the future after Humanity suddenly stopped aging, being born, and dying.  All of which is relayed to you through characters who turn out to be satellites that, through the millennia, gained sentience and now just kinda hang out in space, chat with each other, and check out the games people are playing on Earth. Turns out, football changed a lot after people became effectively immortal, what with the end of entropy (so no one ages or dies of “natural causes”) and the installation of a nano-tech safety net that keeps people from accidentally dying or intentionally killing people. It is no cross-country football and some games take decades to complete. Part of the story even covers a game going on for over 10,000 years. The first game is shown as one of the players runs toward a tornado. As it turns out, their strategy was to get sucked up into a F5 tornado and then thrown in a random direction in order to lose the defenders that had been closing in on her. She wouldn’t get hurt because the nano-tech safety net would cushion her fall and keep her safe from getting hit by debris in the tornado.

There are a lot of rules in football that are still the same, such as tackling, turn over, downs, etc, but a lot that clearly aren’t. There’s a whole section devoted to discussing how the rules changed and how they have kept changing. It turns out that the first huge changes happened during an NFL game where one of the teams discovered they had the legal ability to claim ownership of part of the field. That led to teams fracturing into smaller teams who then claimed ownership of other parts of the field, which lead to a game that can’t end because no one can reach an end zone, no one knows where the football is, and there are residential buildings, skyscrapers, and grocery chains in the way. And people still show up to watch. The interesting part is how the game is used as a metaphor for the development of humanity. The rules started fairly simple, but they grew more and more complex as people tried to wring more specificity and personal benefit out of the rules until it got to the point where people were outright exploiting the overly convoluted rules for individual gain rather than to support their team or the sport as a whole.

My favorite part of this whole series of articles was that it was more of a story about human potential, the quirks of humanity, and the way we all search for meaning even when it seems like ever self-assigned meaning is meaningless. In this distant sci-fi future, humanity rose to their utmost potential and hit a wall. There was nowhere else for them to go now that all of their problems were solved (since immortality and sustainability mean there’s no reason to compete and living forever really gives people the incentives to take care of their world and the whole race) and it turns out that there’s not much in space but distant chunks of rock covered in various non-intelligent stuff. Sure, immortal humans could travel the universe since their speed doesn’t really matter, but they don’t want to, just like they don’t want flying cars and perfectly peaceful, easy lives. Humanity doesn’t want everything to be super easy or always new. They want old, familiar things for the most part. They want the life they’ve known and to eventually reach a point where things don’t change that much. They want to watch weird football games, have a decent day, and struggle with relatively minor problems like stubbed toes and disgusting hamburgers at Burger King.

The whole piece, disguised as a discussion about futuristic football, is really a think piece about meaning and the future. There’s plenty of football references and the like, but it’s mainly used as a widely available reference for metaphors about trying to find meaning in existence. Immortal humans created a set of rules for a football game that has been going on over 10,000 years, but that hasn’t majorly changed in years because all the players are stuck in a gorge, unable to climb out because the cliffs are too steep to climb when you’ve got people trying to pull you back into the water. There’s a guy who is hiding in a cave for ten thousand years so his team wins by default since their score is so far down that there’s no chance of them making up the difference and he keeps himself entertained using those little handheld sports games from the nineties. There are humans whose goal is to meet everyone they possibly can. They create all kinds of games and rules, giving themselves difficult, time-consuming goals to pursue so that there’s some point to every day they will live through.

The whole piece, whose inner depths and interpretations I’ve barely scratched, will take you a couple of hours to experience. There are videos, long bits of text, doctored images, 3D modeled bits, and a lot of big thoughts to consider, all told through the story of Pioneer 9, the spacecraft, finally achieving sentience and wondering what the hell is going on after all this time. The multimedia presentation of the piece can be a bit difficult to take in all at one, so I suggest taking your time with it rather than trying to read it all in one go like I did. Despite that, it is still an incredibly clever bit of writing and arrangement that was a ton of fun to read and experience. I suggest checking it out if you haven’t already.

This Superhero Anime is a Smash Hit

Chris 1 Comment

One of my roommates recommended that I watch My Hero Academia since I was looking for something to watch while I was on vacation. We both expected me to sit down and watch two to five episodes at a time, like I’d down with pretty much every other show I’ve watched, but that is not what happened. I got sucked into the show immediately, lost track of time, and watched the first whole season that afternoon and evening. The following day, I spent the entire day watching all but the last five episodes and I would have watched those if I didn’t have an event the next day that required I get up early. It was close. I almost decided to just stay up so I could watch the last few episodes even though it would have left me bleary and exhausted for the day of watery adventure.

My Hero Academia is, on the surface, your basic action anime that hits all the requirements: teenage male protagonist, male rival who is both a friend and enemy, the hero has a great power he can’t properly wield, he’s in training to be some kind of action hero, and there’s some vague threat looming in the background that slowly becomes more apparent as the series goes on. The protagonist even has the same personality markers as all the other male protagonists of similar anime: a heart of gold/unwavering belief in his peers, the drive to work harder than everyone else, a casual disregard for his own well-being when it comes to protecting people, and a hair color that stands out from his peers and elders (with exceptions for genetics). If all you do is look at the surface, it is simply a fill-in-the-blank action anime with a delightful superhero twist.

The minute you start to look beneath the surface, which is actually easy to do because the show does a masterful job of peeling back the layers for viewers of all ages, there is a startling amount of complexity to all of the characters. The protagonist, Izuku, is not only a hard worker, but he’s also very clever. His analytical abilities lead to more victories (and often less costly victories) than the use of his potentially overwhelming power. His inventiveness, when it comes to finding ways to make use of his rather unreliable powers and applying the powers of his teammates, is unmatched. If he seriously tries, he can usually find a way to make use of the “quirks” (the special powers that most people in the world develop before they’re four) of his peers to defeat whatever foe or obstacle he’s facing. Not only is he intelligent, he’s actually pretty in touch with his emotions and good at reading people, so he has a tendency to find ways to help the other conflicted teenagers he attends Super Hero High School with.

All of his classmates at U.A. High School are heroes in training as well, and a lot of them are still working on why they want to be heroes or what kind of hero they want to be. There’s a guy with engines in his calves, a woman who can turn things she touches weightless, a dude that sweats explosives from his hands, some guy with a tail, a woman who can create objects which pop out of her body (which is most of the cheesecake in the show, since her costume is revealing so as to not tear when she pops out a cannon), an invisible girl, and a guy whose whole body hardens into some kind of metallic-y stone substance, and so much more! The personalities of the cast are, for the most part, just as diverse as the powers. Sure, the explosives guy has anger issues, the invisible girl is constantly afraid of being overlooked, and the dude with engines in his legs is incredibly driven, but they’re also more than just that facet of their personality. Explosives guy wants to be the top-ranked hero and proves his drive despite appearing to be a villain-in-waiting. The invisible girl is a solid hero who wants to keep her friends safe and isn’t afraid to do whatever she needs to in order to succeed. The drive young man is also willing to learn, sharing a surprising depth of wisdom with his classmates and proving to be a capable leader in the few instances he isn’t overshadowed by the protagonist and his rival.

Even the teachers aren’t the rather shallow caricatures they appear to be. Each of them gets their time to show the various aspects of their characters, the wisdom and strength they’ve attained throughout their lives as heroes, and the strength of their conviction when it comes to their pupils. Even the hero who is passing his power onto the protagonist, All Might, shows a surprising depth of character considering his surface-level is just some big muscle-y dude who punches stuff really hard while shouting the names of states or cities in the US while smiling. It turns out he carefully crafted the image of himself as the ultimate hero, the “Symbol of Peace,” in order to discourage villains from attacking all the time and to give the non-hero populace someone to believe in, even going so far as to sacrifice his physical health in order to stay that symbol when he probably should have retired.

That being said, the plot is actually pretty standard. The protagonist wants to be a hero, gets a one-in-a-million chance to become a hero, constantly throws aside the rules in order to do the right thing, and continuously overcomes all the boundaries between him and his goal by trying harder. The big change comes in how the other people in the world react to that and the consequences he faces. It is illegal in his world for people who don’t have a hero license to use their quirk to hurt someone, and he almost goes to jail for doing just that. His super-powered attacks take an incredible toll on his body and, while there is a certain amount of  “Ta-da! You’re magically healed!” there’s also a point VERY early on where he learns that he will eventually suffer irreparable harm if he continues to damage his body and have it healed. Most of his cleverness goes into figuring out how to use his powers while minimizing their impact on his body. Unlike most similar protagonists, Izuku actually has the potential for serious consequences and, even when he tries to “technically follow” the rules, he almost gets in a huge amount of trouble. Even his mentor takes him to task for being reckless.

I would recommend watching My Hero Academia because it is a really fun action anime with depth of character and actual consequences for being a reckless moron (I’m looking at you, Naruto). Finally, you can watch something about a kid who just wants to be a hero and succeeds by trying hard without feeling the little bit of guilt you (or at least I) always feel when watching adults just let kids get away with some really dumb shit. It’s a responsible action anime!

This Mario Game Was Super. What an Odyssey.

Chris Leave a comment

I have a bit of a strange history with Super Mario Odyssey. I got it the day it came out, left work early to play it, and spent my entire afternoon and evening playing it, exploring the mechanics and getting invested in the story. Then I set it down for the night and didn’t pick it up again until last month, at which point I played it for an entire weekend before setting it down and not picking it up again until this past weekend. Which I only did because my roommate started playing it and I wanted to grab a few more power moons since I had fifteen minutes to kill.

This game is simultaneously a ton of fun to play but difficult to pick up. Odyssey takes me back to one of my first major gaming memories, when I tried to get all one hundred twenty power stars in Super Mario 64 on my own, but it feels even more rewarding now since there is no real interruption when going from one power moon to the next. In 64, you got brought out of the level after every power star (except for the 100 coin stars), but Odyssey lets you flow from one power moon to the next with only a small “got moon” cut-scene. The only exception is when you’re altering the map as a result of pursuing one of the ongoing plot points (such as causing an upside-down pyramid to rise into the sky, exposing a sinkhole or beating a mini-boss and returning to the level following the storm that was the backdrop for your battle. The fluidity of the gameplay is important because there are power moons EVERYWHERE, with a wide-range of difficulties associated with them. Some or simply sitting on the top of a tower you need to climb, while others are buried behind quizzes and mini-games or secret doors that are only revealed if you notice every tiny little detail or spend your time attacking literally everything. If there was even the relatively short “get sun” cutscene from collecting a Shine Sprite in Super Mario Sunshine after getting each power moon, it’d be a real drag to collect them since your gameplay would constantly be interrupted.

Mario’s moveset has grown again, which is part of what has made this huge variety of difficulties possible. In addition to his classic air-dives, long jumps, spins, wall-jumping, this game introduces a companion, Cappy, a hat-spirit that replaces Mario’s destroyed hat and gives him all kinds of new abilities a whole range of attacks based around throwing Cappy, like a mid-air jump (by throwing Cappy out and then landing on him), and the ability to take over the bodies of various enemies. This lets you do thinks like turn into a T-Rex, a tank, a Hammer Bro, or do crazy things like create a tower of Goombas that stretches into the sky (my current max stack is 20), all of which is often a requirement to find hidden power moons or progress through the level. In addition to these powers, Mario can also roll around (for the first time in a 3D game) if you hold the crouch button while running, which so far seems like a great way to pick up a little extra speed when going down a hill. It’s a bit silly at times, but it can be super convenient despite the difficulty of steering Mario when he’s on a roll.

These abilities, combined with levels designed as somewhat “open-world,” means that it is entirely possibly to string together move-combos that entirely by-pass the mini-games that allow you to access secret areas or let you avoid lots of obstacles by moving over open-air that you probably shouldn’t be able to cross. If you spend any amount of time looking, you can find tons of creative solutions to the puzzles in the games that bypass using the intended mechanics for something either much faster or something incredibly and ridiculously over-complicated. The inventiveness required to get some of the power moons in the earlier levels does an excellent job challenging the player to think outside of the box when it comes to the usual linear approach to collecting power whatevers in a Mario game. It leads the player to consider the wide variety of options available when it comes to moving through space and then, after the second or third level, just starts dropping power moons everywhere and letting you figure out how you want to get them. The range of difficulties in the puzzles also means that less experienced players can find enough power moons to move the story along while still providing challenges to the more experienced players. It also cleverly helps newer or less exacting players find the more difficult moons by incorporating a hint system and a coin-based system to help you figure out the puzzles. With enough time, any player can find all the power moons.

The biggest downside to me, and the sole reason this game isn’t easy for me to pick up and play is that it almost requires you to play with the Switch on the TV and the two JoyCon in your hands. Because of the huge variety of moves available to Mario, there aren’t enough buttons or button combinations to let the player control Mario with button inputs alone. Some of the moves require specific motions to be made with one or both of the JoyCon. These moves can be reproduced using only inputs, but they are almost always incredibly complicated strings of inputs that combine other moves together to produce a move that can be done by simply shaking the JoyCon. They can also be done using the Pro Controller or the Switch in Handheld mode, but they become incredibly clunky (and create a significant risk of accidentally dropping the controller or system) because the JoyCon are meant to move independently. As someone who primarily uses the Switch as a handheld device, I’m super afraid of trying to perform one of the “controller twist” moves and accidentally flinging the Switch at the wall or the ground, so I only play this game when I’m feeling like lounging on my couch, in front of the TV.

That’s pretty much the only fault of the game, though, and is more on Nintendo for, once again, pushing a frustrating gimmick (I mean, most new games for the 3DS don’t even pretend to have a “3D mode” anymore…). I’d definitely recommend this game to everyone if it was easier to play without the JoyCon separated from the Switch, but I’m only going to recommend it to the TV players. The game is fun, but it’s not so fun that I’m willing to play it with a super frustrating control mechanic.