2143: Anticipating Xenoblade

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I’m picking up a brand new game release on Friday. It’s not often I buy a new game the moment it’s released, but in the case of Xenoblade Chronicles X, I feel almost obliged to, given that it’s not only a game that’s been a long time coming, but also a game that’s likely to be one of the most impressive titles for Nintendo’s underappreciated Wii U console — much like its predecessor was for the original Wii.

I don’t know a lot about Xenoblade Chronicles X as yet save for the fact it’s a bit of a departure from the style of the previous game; I’ve been deliberately avoiding too much coverage of it because it’s one of those titles for which I’m keen to go in almost completely blind, much as I did with Xenoblade Chronicles. I can, however, talk a little bit about my memories of Xenoblade Chronicles, and why they lead me to anticipate Xenoblade Chronicles X quite so much.

I’m not massively familiar with the overall Xeno metaseries. I played Xenogears back when it was originally released on PS1 and enjoyed it a lot, despite its rushed second disc. To date, I know nothing at all about the Xenosaga series, and my next contact with the overall Xeno quasi-franchise was Xenoblade Chronicles on Wii. Again, I came to this knowing almost nothing about it save for the fact it was one of three games for the Wii that a pressure group known as “Operation Rainfall” had been encouraging Nintendo to bring to the West, the others being The Last Story from original Final Fantasy creator Hironobu Sakaguchi, and the unconventional, wonderful Pandora’s Tower from Ganbarion.

In other words, I picked up Xenoblade Chronicles based entirely on hearsay — people whose opinion I respected said that it was an important release, and that as someone who enjoyed JRPGs, I would do well to check it out. It was also noteworthy in that it actually made it to Europe before North America, which is not something that tends to happen all that often with localisations, and its dub featured English, rather than American, voiceovers — a fact which gave it a considerable degree of charm as well as inadvertently creating a number of memes that persist to this day, including “I’m Really Feeling It” and “Now it’s Reyn Time”, the former of which was helped enormously by protagonist Shulk’s inclusion in the Wii U version of Super Smash Bros.

Anyway. Booting up Xenoblade Chronicles for the first time, I was confronted by a JRPG experience quite unlike any other JRPG I’d played to date. Well, that’s not quite true; it was a bit like Final Fantasy XII in many ways, but it definitely had its own unique identity that combined influences from traditional, story-heavy Japanese role-playing games; open-world, mechanics-centric Western role-playing games; and the sheer, daunting amount of content found in your typical massively multiplayer online RPG.

Of particular note was its combat system, which is the main aspect that Xenoblade Chronicles X carries across from its predecessor. Allowing you to take direct control of any of your current three party members, gameplay changed significantly according to how you chose to play each character. Each party member had a fairly obvious “role” in the party that they were supposed to play, but there was a decent amount of customisation between learning new Arts and Skills for them, as well as the limited number of Arts the characters could have equipped (and, thus, usable) at any given moment.

Combat was much more than simple hack-and-slash; in fact, simply running up to an enemy and hoping to whittle down its health was an invitation to disaster, even early in the game. Instead, you needed to know your characters’ abilities, including positional bonuses, and make appropriate use of them at the right times. This is where MMO influences showed themselves once again; since you were only controlling a single character, you had to trust that your AI-controlled companions were up to the task of doing their job — which, to their credit, they usually were — while you concentrated on doing yours.

I typically played as Shulk for most of the game; Shulk, in party-based MMO terms, would have been a melee DPS class somewhat akin to a rogue, dragoon or monk in Final Fantasy XIV. In other words, his abilities were largely focused on both dealing damage and inflicting debuffs on enemies, and many of them were conditional on him being in a particular position in relation to the enemy. One of his Arts required him to hit an enemy from behind, for example, while another had bonus effects when used from the side. Mechanics such as this kept combat dynamic and interesting rather than simply having two groups hacking away at each other until one or the other’s HP ran out.

Then there was the world. Oh, goodness, the world. Xenoblade Chronicles was running on one of the weakest consoles of that particular generation, but it managed to be one of the most impressive games there was in terms of scope and visual design. Unfolding on the overgrown, long-dormant bodies of two mysterious giant mech-type things known as the Bionis and the Mechonis, Xenoblade Chronicles’ world combined the realistically natural with the fantastic to create an absolutely beautiful, memorable world with some genuine landmarks that were worth seeking out just to admire the visual majesty of. I still remember vividly the first time I came across Makna Falls and had to stop and just admire this beautifully crafted environment for a few moments; it was somewhere I’d want to actually go in reality, such was its beauty.

To reiterate an earlier point, I know very little about Xenoblade Chronicles X, and that includes details about its world. If it’s half as interesting and thrilling to explore as its predecessor, though, I’m excited to jump in and start running around… and later, to start stomping around it in the big mech-like Skells.

Xenoblade Chronicles X is out on Friday. There are online and multiplayer features in the game, so if you’re planning on playing it and would like to do stuff with me, let me know and we can exchange Wii U friend details.

2137: Nintendoes

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I’ve been playing almost exclusively Nintendo games for the past week or two. This wasn’t entirely deliberate, but it’s just sort of happened. And it’s allowing me to rediscover my appreciation of what Nintendo does well.

Nintendo, more than pretty much any other company out there, puts out games that feel satisfyingly complete. They don’t come out of the door half-baked, lacking in content or riddled with bugs; they’re ready to play, bursting with things to do and full of enjoyment waiting to be discovered. And this is how they’ve always been, even since the days of the NES.

The other thing I rather like about Nintendo is that their work has a very distinctive “voice”. This is partly the job of the localisation teams who work on the various properties, but the overall “tone” of most Nintendo works is so very consistent — and has been for many years — that I find it difficult to believe that this is purely a regional thing. Rather, I feel that Nintendo almost certainly makes very careful decisions about how it’s going to localise things and make them accessible and tonally appropriate in territories around the world. This even goes as far as making the British/European English and American English versions of games different to quite a considerable degree in some cases, which always feels like a pleasantly “personal” touch.

Now, Nintendo have attracted the ire of a number of people over the last few years thanks to what these folks see as unnecessarily “butchered” translations of games such as Fire Emblem Awakening and Xenoblade Chronicles X. And, for sure, some notable changes have been made from the original scripts — and, in a number of cases, content has been edited or even cut to be in keeping with the perceived values of a particular territory. Memorable examples in recent memory include the shot of Tharja’s panties-clad bum in Fire Emblem Awakening (which featured a curtain being pulled across it in the English version, inadvertently making it look more lewd by hiding her panties altogether) and the inexplicable removal of the breast size slider from Xenoblade Chronicles X‘s character creation tool.

These sorts of edits are nothing new, however. The Legend of Zelda series, for example, has a somewhat different tone in Japan to in the West, particularly in installments such as A Link to the Past on Super NES. In the Japanese original A Link to the Past, for example, the story touched on religious themes, with one of the main villains being a priest. In the English versions, however, religious references were removed, and the “priest” became a “wizard”.

Why does Nintendo do this? For an attempt at inclusivity, I guess; the company has a carefully curated “family-friendly” image to uphold, after all, and “family-friendly” means different things in different territories. From its localisation decisions, we can interpret that Nintendo believes here in the West that “family-friendly” means something that the whole family can sit down and enjoy together without any material provoking arguments or awkwardness between one another. We’ve seen on all too many occasions that discussions and material relating to both religion and sexuality are very much capable of inducing arguments and awkwardness, so out the window they go. It’s kind of a shame for those who prefer their translations to be more literal and true to the original Japanese texts, but it is, after all, what Nintendo has always done — and, I have to admit, that warm, friendly tone most of their localisations tend to have is rather comforting, and quite unlike anything from other localised Japanese works.

This is even apparent in games such as New Style Boutique 2 and Animal Crossing, where there was unlikely to be any real “offensive” content in the first place; both have been localised in such a way as to be as inclusive and welcoming as possible to a broad audience; they’re games that invite you in to enjoy the experience rather than insist you must be this skilled to ride, or whatever. And that’s rather nice, really. Not something that every game needs, of course — some games are all the better for their laser-sharp focus on a very specific, niche-interest audience — but, to be honest, I find it hard to get too riled up about censorship talk when it comes to Nintendo games, simply because I’ve grown up with that warm, friendly, familiar tone of their localisations, and it would feel kind of strange for that to change now.

Anyway. I’m enjoying my Nintendo period right now: currently playing Zelda 3, Hyrule Warriors and New Style Boutique 2. All are very different games from one another. All are simply marvellous. All are proof that Nintendo doesn’t give a shit what its competitors are doing, because they’re quite happy doing their own thing, even if it ends up causing their sales figures to look dismal in comparison to those of Sony and Microsoft.

I hope this Nintendo never goes away. They’re an important part of gaming, and it would be sad to see them go the way of Sega, becoming just another third-party publisher.

2134: Hyrule Warriors is My New Favourite Musou

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I’d been meaning to check out Wii U title Hyrule Warriors for some time, and my recent Zelda bingeing seemed to be an ideal time to do it. I primarily picked the game up as something to play as a co-op game with a local friend, but I’ve found myself playing through a number of missions this evening and having a great deal of fun.

I’ve always enjoyed the Musou games since Dynasty Warriors 2 on PlayStation 2. Their hack-and-slash nature appeals to the brawler fan in me, but they’ve always had a surprising amount of depth to them — not necessarily in the combat itself, but in choosing the right characters for the job, keeping an eye on the overall battle situation, and responding appropriately to what is happening.

For the unfamiliar, the Musou series covers the various Warriors games, including the Dynasty Warriors, Samurai Warriors and Warriors Orochi series. Hyrule Warriors was an interesting break from the norm for developers Omega Force in that rather than being loosely (very loosely, in some cases) based on established historical fiction such as Romance of the Three Kingdoms, it’s based on an established other property — in this case, the Legend of Zelda series.

It isn’t the first time Omega Force has tackled a licensed Musou game; there are Warriors games based on the popular anime and manga One Piece, Fist of the North Star and Gundam, among others. But Hyrule Warriors is arguably one of the more “accessible” properties that the team has chosen to adapt into the Musou style, since Zelda is one of Nintendo’s properties with near-universal appeal, and much more ripe for adaptation than, say, Mario.

Hyrule Warriors, like its stablemates, casts you in the role of one of several different playable characters and tasks you with turning the tide of a large-scale battle on a sprawling map. Your character is just one part of your “side’s” overall efforts, but you’re considerably more powerful than the rather dim footsoldiers that litter the battlefield, usually standing around looking perplexed. You’re not alone, though; in two-player mode, a second player takes on the role of one of the other present allied generals to support you, and even in single-player you’ll find yourself fighting alongside other characters: they’ll come to your aid, but you’ll be expected to do the same in return.

In what I’ve played of Hyrule Warriors so far, there seems to be quite a bit more variety than, say, the Dynasty Warriors series, thanks in part to the setting being considerably more fantastic than ancient China. But it’s not just about the monstrous enemies and magic flying around — it’s also about varied objective during battle. It’s pretty rare, even in the early stages of the game, to be confronted with a battle that simply involves cutting a path to the enemy boss; instead, you’ll find yourself supporting your troops in various areas, capturing strongholds to gain a foothold and advance into enemy territory, dealing with counterattacks from enemies and, in true Zelda style, occasionally accidentally clipping a chicken one too many times with your sword and inviting the wrath of its myriad friends, who will come and peck you to death in pretty short order.

The game also makes use of its Zelda roots well by adding a number of mechanics based on the iconic Zelda inventory items. As you progress through the game’s “Legend” mode, you’ll acquire various items that can be used in battle, ranging from bombs (blow stuff up, reveal secrets) to a bow and arrow (shoot things) and a boomerang (cut down things that a sword just won’t chop). Fulfilling various secret requirements in battle will also reward you with heart containers and pieces of heart to extend your characters’ life bars, and Ocarina of Time’s Gold Skulltulas make an appearance, too, spawning on the battlefield when you fulfil a specific condition and then requiring you to track them down by searching a marked area of the map and listening carefully for their telltale scraping sounds.

I feel like I’ve barely scratched the surface of the game so far; I’ve only played Legend Mode as of now, but there are a variety of other ways to play, with one of the most interesting sounding being Adventure Mode, which tasks you with exploring a grid-based map based on the original NES Legend of Zelda game and fighting various battles in order to take control of it piece by piece. I don’t yet know how well this is executed, but I’m looking forward to trying it out. Even if it turns out to be bobbins, though, just the battles in Legend Mode have proven to be more than worthwhile and enjoyable so far — and it looks very much as if the game has continued to develop and expand long after launch, if the multiple pages of patch notes that appeared the first time I booted the game up are anything to go by!

I’m looking forward to trying it out co-op later this week, all being well, but in the meantime I can already confidently say that it’s one of the best Musou games I’ve played to date, and anyone who enjoys a good bit of hack and slash should most definitely check it out, Zelda fan or no.

2064: Makin’ Marios

I picked up Super Mario Maker for Wii U the other day. I originally wasn’t going to bother with it, but a lot of positive feedback from people I know, like and trust convinced me to give it a shot.

I like the concept of games with built-in level designers very much, but the execution has to be good to make them something I want to engage with in the long-term. TrackMania does it well; LittleBigPlanet less so. For me personally — and this doesn’t apply to everyone, I know — the key is the balance between simplicity and flexibility: the freedom to realise your creative ideas without it being too much work to do so.

Fortunately, Super Mario Maker strikes an excellent balance, and part of that is due to how it gradually dishes out new parts, themes and level types over time from launch. It can be mildly frustrating to have a level concept in mind and be unable to realise it completely until you’ve unlocked the relevant pieces of content, but there are ways to game the system if you feel that strongly. In the meantime, though, it’s worth exploring the initially limited toolset, because artificial limitations can often stimulate creativity in the strangest of ways.

It’s ridiculously easy to make a level in Super Mario Maker. Choosing from a palette of objects at the top of the screen, you just draw things onto the level using the Wii U GamePad stylus. There are limits on how much you can put down, but they’re pretty generous; likewise, the overall width and height of a level can be fairly large. We’re not talking Metroidvania territory, of course, because that would go against the philosophy of a Mario game, but you can certainly put together some fairly intricate designs in the available space if you so desire.

As with any type of game like this, it’s always fascinating to see what other people have come up with, and the creative ways in which they’ve used the tools. TrackMania, for example, fostered a subculture of track creators who made “press forward” tracks, in which all you had to do to complete it was simply continuously accelerate; the design of the track would take care of the rest, automatically flinging the car through a series of ridiculous stunts, with objects placed in the absolute perfect locations to ensure that you always landed in the right place and the right way up.

It’s the same with Super Mario Maker. The game’s only been out for a few days, and some of the most popular levels out there are already of the “don’t press anything” variety; in other words, they play themselves. These levels aren’t any challenge to play, of course, but it’s fascinating to see the intricate “machinery” these creators have put together, and worthy of respect, because it must have been a painstaking process of trial and error to get it working perfectly.

As for me, I haven’t unlocked everything just yet, but I’ve been enjoying dipping in and out of the game, playing a few levels here and there and even making a few. I like the whole package very much, though there are a few things it would be nice to see expanded on over time: most notably, it would be good to see the in-game score and coins actually matter, because outside of the “Mario Challenge” modes, in which you’re presented with a randomly selected series of levels to complete, even the concept of “lives” is completely irrelevant. It would be good to see some sort of leaderboard system with clear times, scores and number of attempts, for example, and perhaps coins could be used to unlock additional features.

It remains to be seen if Nintendo will expand this over time, but with Mario Kart and Splatoon on Wii U, Nintendo has shown itself to be open to the idea of games growing and changing over the course of their lifetime. Super Mario Maker already has a wealth of content in it, but it would be fantastic to see more features — perhaps even based on the Amiibo compatibility, since most currently available Amiibo already unlock character sprites; it would be cool to be able to unlock visual themes, sound effects and music through the Amiibo, too; I might even be tempted to collect a few more then.

In the meantime, though, Super Mario Maker is an enjoyable package that is well worth a purchase. Even if you never make any levels yourself, it’s great to fire up for a quick blast of Mario action — and if you do make your own levels, it will give you a whole new level of appreciation for what professional level designers do all day!

2036: Splattering

Been playing a bit more Splatoon, and I really like it for a number of reasons. Turns out that Nintendo’s first real foray into the dedicated online multiplayer sphere (as opposed to titles like Super Smash Bros. and Mario Kart, which include online but don’t make it a focal point) is a really solid effort that does things a bit differently from the norm and is consequently a better, friendlier, more accessible experience as a result.

Splatoon’s structure may seem restrictive to those who have been raised on more well-established shooter franchises. You can’t purchase any new weapons or other equipment (each piece of which confers a buff of some description, and which can be levelled up at least once to unlock additional abilities) until you hit level 4, and until you hit level 10 you’re restricted to playing just the “Turf War” battle mode.

In practice, though, this all works really well. Turf War — a mode where whichever team covers more of the map with their colour after three minutes wins — is a good introduction to the game, emphasising how it’s important to work together as a team. By the time you hit Rank 10, at which point Ranked Battles with different rulesets unlock, you should be pretty comfortable with how the game works and perhaps even have found a favourite weapon style.

The other interesting thing about how Splatoon works is that rather than throwing all the maps and modes into the rotation and making people either vote on them or set up their own lobbies, it simply uses a small, rotating roster: two maps for Turf War, two more for Ranked Battle, and one of the available game modes chosen for Ranked Battle too. Every few hours this rotates.

This is also an excellent system. It encourages you to familiarise yourself with the maps, and since there are only two in a given set at any point, if you settle down to play a few games, you’ll get the opportunity to learn their intricacies rather than being forced into always playing community favourite levels until the end of time.

So far I’ve only played the Splat Zones mode in Ranked Battle: a variant on King of the Hill in which you have to take control of one or more zones by painting its floor in your colour to score points. It’s a different experience to Turf War; while Turf War is usually on the move, often with a scuffle over the map’s middle ground, Splat Zones forces you to both go on the offensive and defensive according to the position you’re in. Taking advantage of the squids’ abilities to hide under their ink makes for some enormously satisfying stealth “kills” (sorry, “splats”) and there’s a real sense of fun when you manage to outwit an opponent who’s been giving your team grief.

I haven’t yet had the courage to jump into some games with the folks on the /r/splatoon Discord server, but they seem like a friendly bunch open to giving advice, so I may look into that in the next few days. After all, I am level 12 now; that’s at least a bit fresh, I think…

2030: Splatoon is Pretty Damn Good

Wandered into town today to take care of a few bits of business, and decided that I’d trade in some games I didn’t really play any more and that wouldn’t be difficult to find again (Uncharted, Uncharted 2, Need for Speed, stuff like that) and pick up Splatoon.

I’ve been idly following Splatoon since it was released, but I’ve held off picking it up because I’m generally not a massive fan of competitive games, and while Splatoon does have a single-player mode, it’s most well-known for its online battles.

Well, after spending a couple of hours with it this evening, I’m kind of sorry I waited; it’s really, really good.

Most of you reading this are probably already familiar with Splatoon but on the offchance you aren’t, it’s a Wii U game from Nintendo that is a rare example of them putting out a non-Mario or Zelda-related IP. Moreover, it’s actually an all-new IP, and one that deserves to do well, since it has some great character designs and witty writing, even in a game so focused on competitive multiplayer.

I haven’t tried the single-player at all yet and I’m only level 6 in multiplayer, so I can’t talk about the complete experience as yet, but what I’ve played so far has been a whole lot of fun.

In your early hours of Splatoon, you’re restricted to playing “Turf War” mode; a four-on-four affair in which the two teams compete to cover as much of the level with ink as possible over the course of three minutes. At the end of the match, the area covered is totted up and a winner declared, and individual rankings are shown so you can see who was pulling their weight more than others.

The genius of Splatoon is that it’s a competitive shooter (third-person in this case) in which the emphasis is not on killing other players, but instead on surveying the overall situation of the battlefield and acting accordingly. There’s no voice chat, but this isn’t really a problem, since you can coordinate your efforts with others simply by glancing at the overview map on the GamePad screen and seeing what regions need your attention. The fact that all you’re expected to do is cover as much of the level as possible with ink keeps things simple and accessible — though you will give your team a small advantage if you can fend off your opponents, sending them back to their base and wasting a bit of time as they respawn and make their way back to where the action is.

The other thing I like about Splatoon is that it’s apparently possible to pick up and play it and immediately be quite good at it. Out of the fifteen or twenty matches I’ve played this evening — they’re short and snappy, which is lovely — I was on the losing team only twice. There’s plenty of variety in the weapons, but none of them (so far, anyway) feel like they’re massively overpowered or anything; most of them can be countered in some way or another, and even the “superweapons” can be dodged and avoided if you know to recognise the warning signs soon enough.

I’m convinced, then; this is a good game that I’m looking forward to exploring more in the coming days. And it seems there’s a really active community, too, both on Reddit and Discord, so I’m looking forward to getting to know some new people.

I can officially confirm, then, that I am indeed a kid now, a squid now, a kid now, etc. So that’s nice.

1785: Smashing Fun

After an enjoyable online session with one of my Final Fantasy XIV guildies the other night, I sat down to spend a bit more time with Super Smash Bros. for Wii U earlier today.

My hesitance to play that much until now has largely been due to the fact I hadn’t really picked a “main” — that is to say, a character I would generally play in preference to anyone else, given totally free choice. Maining a character involves learning their moves and the best situations in which to do them, and is a bit more effort than just bashing buttons and hoping for the best — a playstyle I’m not quite convinced I’m entirely beyond just yet.

A bit of play with Zero Suit Samus (of Metroid series fame) against my friend the other night as well as today has me thinking that she’ll be a solid choice, however. She’s a speedy character, and I’m a fan of being able to quickly dodge out of the way of trouble, and her moves are all pretty easy to understand. She has a medium-range projectile attack, a slightly shorter range electric whip jobby plus a few satisfying combos, uppercuts and the like. Her dashing regular attack is a powerful kneebutt to the chest (or face for the shorter characters) which is simple enough to understand, and in modes such as Multi-Man Smash, where your opponents are significantly weaker than normal but come in much greater numbers, this is more than enough to send your foes flying into the distance for a satisfying knockout.

I got in some good practice with Zero Suit Samus (distinguished from her fully armoured counterpart) in the Multi-Man Smash modes, which I cleared for the first time with her, as well as the arcade-style All-Star Mode, which sees you fighting your way through Nintendo (and guest) characters from throughout the ages in reverse chronological order, beginning with recent additions to the roster such as Wii Fit Trainer and working all the way back to classic characters like Pac-Man and Donkey Kong.

Super Smash Bros. for Wii U really is a somewhat daunting package when you first pick it up, much like its predecessors. The sheer wealth of different ways to play is bewildering and baffling at first, but it won’t take long for you to find your favourite modes — and, pleasingly, there’s no obligation to play the modes you don’t particularly enjoy, since most of the unlockables can be obtained in several different ways ranging from simply playing a certain number of matches to completing specific modes or achievements. Today I unlocked a couple of extra characters, including Mr. Game and Watch — the poorly animated silhouetted figure from Nintendo’s early ’80s LCD game-clocks, complete with bip-bip-boop sound effects — and R.O.B., the ill-fated plastic robot that would supposedly “play” with you on the 8-bit Nintendo Entertainment System on games like Gyromite. (Turns out he’s much better at fighting than he is at wielding a controller.)

I’ve enjoyed the Smash Bros. games over the years, but I wouldn’t say they’ve been absolute favourites. This latest installment, however, is proving to be an addictive little beast, and I’m looking forward to learning more about how to take my game to the next level. Then one day, I might be able to actually beat my friend Tim, who is frustratingly and irritatingly good at it, assuming you let him play as his mains (inevitably, as a Zelda fan, he mains Link and Ganondorf.) In the meantime, however, I’ll be continuing to grapple with Zero Suit Samus until I’ve got that flying knee timing just so.

1776: SMAAASH

Not realising that Black Friday has apparently become A Thing over here, I went into town to pick up a copy of Super Smash Bros. for Wii U earlier. It took over half an hour of queueing in Game to pick up a copy, but at least I didn’t get to the front of the line and find there were none left. (I didn’t get a Gamecube controller adapter, though; stupid “preorders only” rule.)

Most of you reading this probably know what Super Smash Bros. is, but on the offchance you don’t, it’s become one of Nintendo’s flagship series over the years thanks to it essentially being a disc full of Nintendo fangasms. It’s sort of a fighting game — though nowhere near as technically demanding as more traditional fighting games — that stars a wide variety of characters either from Nintendo’s own lineup or from games that have appeared on Nintendo consoles at some point or another, as well as one or two special guests.

I’ve been playing a bit of the new game this evening and like its predecessors, it appears to be a lot of fun, if somewhat overwhelming in terms of the sheer number of different things available to do. There’s a straightforward Smash battle, Classic Mode, All-Star Mode, Events Mode, Stadium Mode, online and probably several others I’ve forgotten, each of which are subdivided into various other things and most of which can be played either solo or with friends. Some can be played cooperatively with a partner against the computer, others are purely competitive. The most extreme multiplayer offering the new game has is an utterly chaotic 8-player mode in which it’s nigh-impossible to tell what the fuck is going on, but it’s an enjoyable sort of nonsense nonetheless.

There are some interesting additions, too. The ability to create your own fighter using any of the Miis on your Wii U console makes for some entertaining possibilities, particularly since they’re customisable with three different fighting styles, selectable (and unlockable) special moves, equipment, costumes and headgear. The Amiibo functionality, where you can use small figurines to communicate with the game via the Near-Field Communication panel on the Gamepad, is fun, too, and not quite what I expected; rather than your Amiibo containing a fighter than you personally use, it instead acts as more of a sort of virtual pet that you can feed equipment to (don’t think too hard about how that works), customise the special moves of and gradually level up by allowing it to participate alongside you in battle. Because the figurine itself holds data, you can then take it to a friend’s house and bring your Amiibo into their game, too, so they can face off against the fighter you’ve been training up to be an unstoppable killing machine.

I’m really happy to see slightly lesser-known games such as Xenoblade Chronicles getting headline character love, too. Xenoblade’s protagonist Shulk is an enjoyable, interesting character to play as, and the Xenoblade stage is challenging and cool-looking. (Plus it features recurring villain Metal Face showing up to cause mischief throughout, which is a lot of fun.) It sure makes me pretty hungry to see the new Xenoblade game in action on Wii U, though…

Aside from that, the customisation of the game has never been better. You can tinker around with how frequently items appear, which music plays in which stage and how often and even switch levels to a stripped-down, simplified “Omega Mode” (essentially little more than a floating platform) for a true test of your skill without environmental hazards being a pain. There’s even an online mode — “For Glory” — where you play without items on Omega stages, and I have a feeling this is where the true Super Smash Bros. legends will learn to shine.

It’s unfortunate that none of my friends are around this weekend as I was hoping to have a good session of local multiplayer with them. Still, I shall console myself with the vast amount of other content in the game — and perhaps attempt to give some online friends a kicking — and smile as the Wii U once again shows that it has some of the most enjoyable, most interesting and most polished games in all of the “next” generation of console hardware.

1649: UUUUURGH

Been showing off the Wii U today, and as part of this process I decided to pick up a game I’ve been meaning to give a shot for a while — Ubisoft’s ZombiU. So far it seems to be an interesting game, for sure, albeit not one without a few glaring problems, not least of which is a game-breaking bug relatively early in to the whole experience.

For those who have never encountered this Wii U exclusive, the best means of describing it is probably to use that tired old analogy: saying it’s “the Dark Souls of [x]”, where [x], in this case, is survival horror.

For once, though, that statement isn’t altogether inaccurate, since so far as I can make out from what I’ve played so far, ZombiU simply is Dark Souls, albeit presented from a first-person perspective and set in modern-day London rather than From Software’s dark fantasy classic. It has all the trappings of Dark Souls’ basic gameplay — combat that’s rather more methodical and careful than your typical action game, in which it’s easy to become overwhelmed if you try and face off against too many enemies at once; online connectivity allowing you to write messages on the walls for other players to find; and the fact that death is an inconvenience that you can overcome to a certain extent if you can only get back to the point you died — and, in this case, defeat your former self, who has, naturally, become a zombie in the intervening period. (That is, unless you’re playing the rather brutal Survival mode, in which you only have a single life in which to get as far as you can.)

It’s an intriguing game, and an effective example of how the Wii U’s unique features can be used to enhance a game experience. While the majority of the action unfolds on the TV screen, things like looting bodies and searching containers is done on the GamePad screen, leaving you vulnerable to attack while you do so — just as you would be if you stopped to rifle through your own bag. Furthermore, you can use the GamePad as a means of scanning the area and marking points of interest, which subsequently show up on your main screen and map as markers.

It’s also a decent example of survival horror done well. By keeping the TV screen clutter to a minimum — there’s very little in the way of HUD, and you have to look down at the GamePad to check your ammo — it provides a nicely immersive experience, and allows for wonderful, authentic “horror” moments such as pointing your gun at an incoming zombie, pulling the trigger and hearing that awful sound: click. There are some nice touches with the various characters you play as, too, such as certain characters obviously being terrified of the situation in which they find themselves, while others appear to take it in their stride.

I’m not 100% sure on whether it’s quite my sort of game just yet, but I’m certainly willing to give it a go, and even if I end up not wanting to beat it I only paid £12.99 for it as a preowned copy, so I don’t mind too much. There’s also an intriguing-sounding multiplayer mode that I’d like to give a try.

So, game-breaking bugs aside — don’t die while escaping from the supermarket in the early stages of the game! — it appears to be a solid experience, and one of the more interesting Wii U exclusives available.

1597: Mario Kart 8 is Fucking Great

(Hey, that rhymes. It’s like it was meant to be.)

So, yes, Mario Kart 8 is, as the title says, fucking great. And it’s a surprisingly complete-feeling package this time around, too; past installments of the series have typically not been anywhere near as interesting if you’re sitting around by yourself, but the excellent online mode in Mario Kart 8 means that there’s always some interesting, enjoyable competition to be had even if you don’t have anyone to play with in the same room as you.

As ever, though, it’s when you have people over to play that the game absolutely shines. I bought it primarily with the intention of this evening happening — my regular board gaming friends came over, we ate curry and then played Mario Kart 8 instead of something tabletop. And it was fab.

The thing that has always been good about multiplayer Mario Kart is also the thing that frustrates people the most — the fact it can all turn at a moment’s notice. One minute you’ll be happily driving along in first place, not a care in the world, and the next you’ll be pelted by blue, red and green shells, knocked back into the middle of the pack as you friends whizz by you, giggling.

This is, of course, infuriating when it happens to you, but with the nicely tuned balance of Mario Kart you’ll have the chance to get your revenge before very long. The further down the pack you are, the nastier the items you get are, so unless you were knocked out of the running moments from the finish line — which isn’t beyond the realm of possibility — there’s always a chance to claw your way back to a respectable position.

Ultimately, the nice thing is that it doesn’t matter all that much because it’s simply fun to play. The simple controls and well-tuned difficulty level mean that anyone can pick it up and have a go, while the myriad shortcuts and special techniques mean that those who want to take their game to the next level can do so. Just remember, though, getting out in front effectively paints a big target on your back, so don’t be surprised when the dreaded blue shell comes a-knockin’.

I could tell that the game was well-received by my friends from the amount of foul language it was producing. I find it remarkable that Nintendo’s family-friendly games provoke more bitching, swearing and cursing than pretty much any other game I know. Even our go-to multiplayer titles like Super Street Fighter IV and TrackMania don’t make us yell and curse like we were during our Mario Kart session this evening, and the cursing grew in volume and intensity as we worked our way through the eight cups. Eventually, my friend James was reduced to a gibbering wreck, no longer using words and simply making what he apparently believed to be insulting noises, having previously passed through stuttering, peculiar insults (“W-wank yourself!”) and some frankly unprintable utterances that would probably get certain quarters of the Internet angry at me (or James) were I to repost them here.

Anyway. That’s that. I hope there will be more Mario Kart 8 in my future, because that was one hell of a lot of fun. Nintendo very much still has the magic.