Mini Game Corner: Mega Man IV (Nintendo Switch)


January celebrates two notable dates in science-fiction history, “National Science Fiction Day” on January 2 and Arthur C. Clarke’s HAL 9000’s birthday on January 12. Accordingly, I’m dedicating January to celebrating sci-fi in an event I call “Sci-Fanuary”.


Released: 7 June 2024
Originally Released: 
29 October 1993
Developer: 
Minakuchi Engineering
Also Available For: Game Boy and Nintendo 3DS

A Brief Background:
After Mega Man (Capcom, 1987) allowed Capcom to stake a claim in the revitalised home console market, the franchise became a Nintendo staple known for its challenging difficulty. Capcom expanded their reach to the Game Boy in 1991 by outsourcing the franchise, resulting in the highly regarded Mega Man: Dr. Wily’s Revenge (Minakuchi Engineering, 1991). When the quickly produced sequel divided critics, series artist Keiji Inafune allegedly blamed the inexperience of developers Thinking Rabbit, leading to Capcom collaborating with Minakuchi Engineering once again for the for a third, better regarded effort. For Mega Man IV, the developers again borrowed elements from the main console games, mixing and matching them into a bite-sized title that was largely praised for pushing the limits of the Game Boy and better emulating the main series titles. Unfortunately, like its predecessors, Mega Man IV was stuck as a Game Boy exclusive for many years as a collection of these games was cancelled, though this eventually changed when they were all ported to Nintendo’s online shops and services.

The Review:
Mega Man IV continues the time-honoured tradition of the Blue Bomber’s handheld adventures by recycling and remixing elements from the franchise’s release on the Nintendo Entertainment System (NES), namely Mega Man 4 (Capcom, 1991) and Mega Man 5 (ibid, 1992). In many ways, these portable titles are delivering what I came to hope from the mainline series in that they’re combining elements of two games into one, and a common complaint I had about Mega Man’s console games was how redundant some of them are since the changes were so minimal. Without a doubt, Mega Man IV is the closest to the console games so far in terms of presentation, length, and gameplay mechanics. The basic setup is all here: Mega Man runs-and-guns through four initial stages, defeating Robot Masters to gain their Special Weapons, then battles through four additional stages in his quest to defeat Doctor Albert Wily. B and X fire your Mega Buster or currently equipped Special Weapon. Holding down the button charges a shot with either the Mega Buster or Pharoah Shot, with the added wrinkle that Mega Man’s basic charged shot now has a little recoil you’ll need to account for. B jumps, with Mega Man being lighter when underwater, and down and B slides beneath jumping enemies, projectiles, and through narrow tunnels. While enemies will still drop health and weapon energy, and the occasional 1-up, and you can still collect these and energy filling E-Tanks in stages, Mega Man IV introduces a new collectible. During your adventure, you’ll collect P-Chips; collect enough of these and, between stages, you can visit Doctor Thomas Light and purchase various single-use power-ups. You can fully refill Mega Man’s health or weapon energy, gain a 1-up, store an E-Tank (or purchase a small one to trade in for a large one), and refill one or all your weapons. Personally, I found this a bit tedious; the P-Chips simply meant more grinding for health or energy and the power-ups weren’t really worth the extra effort of collecting them.

A new shop mechanic adds additional power-ups to the formula but they’re not that special.

Mega Man’s robotic companions return in Mega Man IV, though Rush sadly doesn’t get much play. Rush Coil is primarily used to reach higher platforms containing goodies or the odd alternative path, while Rush Jet didn’t really factor into the game until I reached Dr. Wily’s space station and needed to fly over some insta-kill spikes. Beat also returns, with him summoned when you collect four letters to spell his name from the first four stages. I was actually able to accomplish this this time around, meaning I made use of Beat to chip away at the latest “Mega Man Killer”, Ballade. Eddie also pops up to offer you helpful power-ups and you can even take alternative paths to find Proto Man, who’s standing near some helpful pick-ups. Finally, you must collect the WILY letters from the second set of stages to access Dr. Wily’s newest stronghold, and you’ll gain a brand-new Special Weapon, Ballade Cracker, which tosses an explosive in all directions and is very handy when escaping Dr. Wily’s exploding base and battling the mad scientist. Otherwise, Mega Man’s Special Weapons are the same as in Mega Man 4 and Mega Man 5: you douse flames and hit all enemies with Rain Flush, freeze enemies (and Pharaoh Man) in their tracks with Bright Flasher, fire diagonally or charge an overhead energy ball with Pharaoh Shot, and toss a quick returning Ring Boomerang. Defeating the second set of Robot Masters adds the slow, explosive Crystal Eye, the bouncy explosive Napalm Bomb, the twirling Power Stone, and the sliding Charge Kick to your arsenal. As ever, these Special Weapons are best saved for use against specific Robot Masters and bosses, but they’re also useful for attacking aerial or tougher enemies and destroying certain walls. Though Rush Marine isn’t present, you can jump to propeller platforms to cross spike beds and ride slow moving, insta-kill drills to cross gaps.

Mega Man IV is the closest the portable games have gotten to recreating their NES counterparts.

Mega Man IV does a commendable job of recreating the stages from its NES counterparts and features more story than of the previous handheld Mega Man games. Dr. Light appears, as do frequent text boxes, and big pixel art is the order of the day; you even get a quick demonstration of Mega Man’s new abilities and a new stage introduction. Unfortunately, slowdown and sprite flickering are still a problem, particularly when using the Power Stone. Enemies constantly respawn and bottomless pits and various spikes are everywhere, but Mega Man IV feels fairer than the last game. The perspective hasn’t changed and sprites, though detailed, are still too big (like some hit boxes), but the difficulty was way more accessible for me this time around. Many gimmicks from the console games are faithfully recreated here, such as the light gimmick from Bright Man’s stage (where you must destroy Dompans or activate switches to light up the area), the quicksand from Pharaoh Man’s stage, and the zipping platforms from Ring Man’s stage. Crystal Man’s stage is full of glittering crystalline trappings and spikes, Napalm Man’s stage features destructible blocks and collapsible walkways, and Charge Man’s stage again takes place in and on top of a train, with the screen juddering to simulate the train’s movement. Magnetic hazards await prior to Ballade and you’ll blast at missiles across the deck of Dr. Wily’s ship before venturing inside, where a very detailed mechanical hellscape awaits you. Mega Man IV really pushes the Game Boy to the limit, featuring blinking lights, numerous medium-to-large enemy sprites, and a far more detailed enemy roll call at the end that shows Mega Man battling each Robot Master. The sprite-based cutscenes are entertaining to see on the handheld and the larger pixel art is impressive, it’s just a shame the hardware is still struggling to render everything that’s happening. Luckily, the rewind and save state feature can help you out, and the game still includes a password feature (which has also received a new coat of paint).

Dr. Wily’s newest creation and biggest mech yet make up for the recycled Robot Masters.

There’s far greater enemy variety in Mega Man IV, which faithfully recreates some of Mega Man 4 and Mega Man 5’s most recognisable foes. Crystal and Gunner Joes will dog you, Mummira’s appear from hidden doors and toss their heads, Metall’s drive little choo-choos or split into miniature versions of themselves, and tiger-like Sumatran pounce at you. Coccos sit in place and spawn little chicks, bombs and rocks are tossed at you, and four familiar, giant mini bosses also return. The large snail Escaroo again tosses bombs and its vulnerable eyes at you, the hippo-like Kabatoncue stays high up out of reach and spits homing missiles (it’s best to use Pharaoh Shot rather than waste time bringing him to the ground), a giant Metall shoots at you from a massive cannon (easily destroyed by hopping on the gun barrel and blasting his eyes), and you’ll want to use Bright Flasher to expose Whopper’s weak spot. The Robot Masters are much easier in this game thanks to the arenas being a little bigger, meaning you’re less likely to take damage from their massive hit boxes. Charge Man was an exception as he was tricky to jump over, but guys like Toad Man and Pharaoh Man are a joke thanks to the former just hopping around and the latter being powerless against Bright Flasher. You’ll fight Ballade twice, with his second form being a bit tougher, but he’s a big target for your charged shot. Dr. Wily’s base is protected by a large energy cannon and mechanised bridge, with the latter firing some of the Robot Masters’ attacks, as well as eyeball-like drones and the traditional rematch against the eight Robot Masters. Dr. Wily attacks in a machine so vast it is the background; he’ll punch you or slam the ground, causing debris to fall, and fire a shot from his central core. Simply avoid these hazards and time your Power Stone to knock out this first stage, then his bird-like cockpit lowers and fires electrical blasts from its antenna. In this phase, you must toss Ballade Cracker into the mech’s mouth and unload with the Mega Buster when it tries to crush you. Finally, Dr. Wily pulls the old disappearing trick in his UFO but with a twist; he drops bombs that’ll destroy sections of the ground, and you’ll need to chase after him, relentlessly tossing the Ballade Cracker until he’s begging for mercy!

The Summary:
Well, it’s taken four games, but the developers finally brought something that closely mirrors Mega Man’s console outings to the Game Boy. Mega Man IV is a clear step up, visually, from its predecessors; the added focus on story and sprite- and pixel-based cutscenes alone speak to that. It’s also a lot bigger than its predecessors; the main content is about the same length, but the stages definitely feel longer and more challenging. Yet, the challenge is notably fairer than normal and the game’s way more forgiving than Mega Man III. I liked the little touches, like the recoil from Mega Man’s charged shot and the optional paths, which included cameos from Proto Man. While the developers haven’t played around with the format too much, the action was a lot smoother and less aggravating than before, with less cheap deaths and enemy and hazard placements, to the point where I was actually enjoying myself rather than tearing my hair out with the rewind function. It’s still a tough game and I still question how anyone completed it back in the day, but the margin for error is much wider this time around. This is best seen in the Robot Masters; while still big targets and difficult to avoid, I didn’t feel as much pressure to go in with full health and it felt satisfying offing them rather than a chore. The P-Chip system was a bit weird and unnecessary; Dr. Light doesn’t sell anything you can’t get with a bit of exploration ot pre-boss grinding and the mechanic just reduces the drop rate of health and energy. Like, why not purchase Proto Man’s shield or a passive item that instantly respawned you when you fall down a pit, or a rapid-fire power-up? Similarly, it’s a shame Rush was sidelined and that the Ballade Cracker was little more than a secondary explosive. Still, I liked the sidescrolling chaser sections where you have to outrun the exploding environment and the faithful recreation of some of Mega Man 4 and Mega Man 5’s more recognisable enemies and mechanics. It was still a short, shallow, and tricky experience, but Mega Man IV is much closer to the level of quality I’d expect from the series and therefore where your handheld Mega Man journey should start, in my opinion.

My Rating:

Rating: 3 out of 5.

Pretty Good

Was Mega Man IV a part of your Game Boy library growing up? Do you agree that it’s one of the better portable Mega Man adventures? Were you disappointed by the Ballade Cracker? Did you ever collect all the letters and utilize Beat? Which Robot Master was your favourite to fight? Do you have a favourite portable Mega Man game? How are you celebrating the science-fiction genre this month? Whatever opinions on Mega Man IV, leave them below and be sure to check out my other Mega Man reviews!

Mini Game Corner: Mega Man III (Nintendo Switch)


January celebrates two notable dates in science-fiction history, “National Science Fiction Day” on January 2 and Arthur C. Clarke’s HAL 9000’s birthday on January 12. Accordingly, I’m dedicating January to celebrating sci-fi with an event I call “Sci-Fanuary”.


Released: 7 June 2024
Originally Released: 
11 December 1992
Developer: 
Minakuchi Engineering
Also Available For: Game Boy and Nintendo 3DS

A Brief Background:
Mega Man (Capcom, 1987) successfully saw Capcom graduate to the growing home console market and. by 1992, the Blue Bomber was a Nintendo staple thanks, in part, to the challenge offered by his titles. In 1991, Capcom outsourced the development of Mega Man’s Game Boy debut to Minakuchi Engineering, resulting in the highly regarded Mega Man: Dr. Wily’s Revenge. Though it borrowed elements from Mega Man’s main console outings, the portable adventure was followed by a 1991 sequel so divisive even series artist Keiji Inafune allegedly believed the inexperience of developers Thinking Rabbit was to blame. Thus, Capcom reunited with Minakuchi Engineering for a third handheld title, one that was noted to have produced something much more akin to the mainline games. In keeping with its predecessors, reviews are somewhat mixed (despite notable improvements), especially concerning the limitations of the hardware and the recycling of elements over creating something truly unique to the series. While a collection of the Blue Bomber’s portable adventures was cancelled, Mega Man games continued to appear on the Game Boy and were later ported to Nintendo’s online shops and services.

The Review:
Mega Man III takes its inspirations from Mega Man 3 (Capcom, 1990) and Mega Man 4 (ibid, 1994), maintaining many of the same gameplay mechanics as the previous two handheld adventures and deviating very little from the established formula. When you first start the game, you must battle past four stages and defeat the Robot Masters waiting at the end. As you’d expect from a Mega Man title, each Robot Master has a specific weakness so it’s best to tackle them in a certain order. I’d recommend this more than usual because Mega Man III is particularly unforgiving, even for a Mega Man game. The restricted screen space of the Game Boy and the large sprites and hit boxes remain a constant headache, but I also found the game to be full of far more insta-kill hazards (bottomless pits and various spikes) than usual, and that enemies were far less likely to drop health and weapon power-ups. By default, Mega Man is armed with his signature arm cannon, which you fire with B or X. For the first time in the handheld series, you can charge up a shot by holding either of these buttons and this is far more useful here for cutting through the constantly respawning enemies. B lets you jump and pressing down and B lets you slide under enemies and projectiles (a feat trickier than it sounds thanks to their large hit boxes), through tunnels, and under ceiling spikes. You can replay any stage until you reach Doctor Albert Wily’s new sea fortress and the game comes with the usual password feature, though the Nintendo Switch’s save states and rewind features make this redundant. They were, however, far more essential here than usual as the game is littered with enemies and hazards, with airborne robots, projectiles, and temporary platforms screwing up your jumps and dropping you to your doom.

A visual boost doesn’t relieve the aggravation of an outrageous difficulty spike.

Players of Mega Man 3 and Mega Man 4 will instantly recognise the stages on offer here, and Mega Man III does a commendable job of recreating its 8-bit counterparts. One positive I can definitely say is that the developers were becoming more familiar with the Game Boy’s limited hardware and adding more depth and detail to the backgrounds and foregrounds. Snake Man’s stage, for example, boasts rippling snake platforms and fireball-spitting turrets; Gemini Man’s stage features a catchy tune and a beautiful crystalline aesthetic; and Shadow Man’s stage begins set before a rushing waterfall. Each Robot Master is fought in a claustrophobic, enclosed arena that makes it near-impossible to avoid taking damage. Thus, it’s recommended you “farm” nearby enemies to bump up your health and weapon energy. Each one drops a Special Weapon that’ll defeat another, and they all function exactly as in their home console counterparts. The Search Snake sends little snakes slithering across the floor and up walls, the Gemini Laser ricochets about, the Shadow Blade can be directed, and the Spark Shot fires a powerful electrical blast. Battling the Robot Masters is compounded by the atrocious slowdown and sprite flickering at work here that crops up in stages with larger enemies, such as Jumbigs, Pickelman Dadas, and frustrating Skeleton Joes (who reassemble far too quickly for my liking). As before, besting the first four Robot Masters sees you taking on four additional ones in four more stages. You’ll battle through Dust Man’s junkyard, avoiding being sucked up by him, and acquire his slow but explosive Dust Crusher, navigate Skull Man’s boneyard stage and hop around his Skull Barrier to gain a temporary shield, test your platforming skills in Dive Man’s flooded damn and grab his useful homing Dive Missiles, and blast through Drill Man’s mine to fire the Drill Bomb, which can also be remote detonated.

The restrictive screen size is compounded by unforgiving stage designs and large bosses.

Dr. Wily’s personal defences are somewhat lacking this time around; you’ll battle the Giant Suzy twice, a fight I found extremely aggravating thanks to being stuck in a narrow corridor and the erratic robot attacking at random each time I rewound. Dr. Wily puts a lot of faith in his new “Mega Man Killer”, Punk, who makes a dramatic entrance and attacks by spinning at you like a buzzsaw and firing similarly themed projectiles. He’s not too tricky but also varies his high and low attacks, making him an unpredictable foe who I’m not how you’d defeat with the rewind feature. Dr. Wily attacks in a ridiculously large machine that hops about and fires diagonal missiles in its first phase. Thankfully, you can avoid damage completely by staying at the far left of the screen, but it can only be damaged with a well-timed, fully charged blast of your Mega Buster to its pupils (not the eyes; the pupils!) In its second phase, it stays still and spits out bouncy spheres at reflect your attacks. You must position yourself between them and chuck the Screw Crusher at the cockpit to reduce Dr. Wily to tears and destroy his base. Stages are the usual affair here, featuring many repurposed gimmicks such as ladders (with and without damaging clamps), vertical shafts (with and without spikes), lightbulbs that must be destroyed to light up dark areas, disappearing and reappearing blocks, long gaps that must either by leapt across or crossed using Rush Jet, higher areas you can only reach with Rush Coil, and a tense gimmick where the ceiling tries to crush you and you must blast blocks to reach safety. Dive Man’s stage was a standout for me thanks to the large Moby enemies and the rising/falling water gimmick recreated from Mega Man 4. Skull Man’s stage was also great because of the giant bones and skull theming, and I especially liked the swaying trees in Snake Man’s stage. Unfortunately, Mega Man III had a hell of a sharp difficulty curve, with some stages assaulting you with offscreen enemies right at the start. Tricky jumps, timed explosive platforms, and Hammer Joes were all placed in the worst locations and the margin for error is so frustratingly low thanks to the tiny screen size and the ridiculously large sprites (as impressive as they are).

The Summary:
I’m not against a challenge as long as it’s fair and fun. In this day and age, with quality-of-life features like save states and rewinds, it seems hypocritical to complain about a game’s difficulty. But Mega Man III is quite possibly one of the cheapest games I’ve ever played. It’s easily up there as one of the hardest Mega Man games I’ve experienced, and not in a fun way. The number of times I had to rewind or reload a save state tells me that I probably wouldn’t even clear a single stage if I was playing “legitimately”. Three games into the Blue Bomber’s portable career and the developers still haven’t figured out to just zoom out a bit, or reduce the size of their fun, expressive sprites. Sure, they’re way more detailed and impressive than the home console sprites, but they take up far too much screen space. It was almost impossible to avoid taking damage, especially with the brutal slowdown and sprite flickering slowing the game to a snail’s pace. Enemies respawn way too quickly, flying and jumping at you in the smallest of spaces and eating away your health in the blink of an eye. Sure, you can find the odd E-Tank to refill it, but that’s not going to help you when a couple of enemies appear at just the right position to batter you into an explosion of pixels. The Special Weapons were more useless than ever; considering their energy drains so quickly, you don’t want to waste them on anything but the Robot Masters so you’re stuck charging your Mega Buster. The Robot Masters were more unfair than ever, clogging up the screen and peppering you with their signature shots; Gemini Man was the worst thanks to him duplicating, firing a regular shot, and bouncing his Gemini Laser around. The Game Boy just couldn’t handle all that and your movements and attacks so the battle was an aggravating one. Sure, the sprite art in the ending and between stages is impressive, as is the soundtrack and the impressive recreation of the home console games. But the Game Boy just can’t handle everything happening onscreen and Mega Man III suffers because of it. The difficulty spike is immediate no matter which stage you pick and playing this game was a chore as a result, making it one of my worst experiences with the franchise so far.

My Rating:

Rating: 2 out of 5.

Could Be Better

Did you find Mega Man III a challenge and a half? Do you think the Game Boy’s screen size was too small for the action? Were you disappointed by the lack of other bosses? What did you think to Punk and Dr. Wily’s obnoxiously large final machine? Which of Mega Man’s handheld games is your favourite? How are you celebrating the science-fiction genre this month? Whatever your thoughts on Mega Man III, share them below and be sure to check out my other Mega Man reviews!

Mini Game Corner: Mega Man II (Nintendo Switch)


January celebrates two notable dates in science-fiction history, “National Science Fiction Day” on January 2 and Arthur C. Clarke’s HAL 9000’s birthday on January 12. Accordingly, I’m dedicating January to celebrating sci-fi in an event I call “Sci-Fanuary”.


Released: 7 June 2024
Originally Released: 
20 December 1991
Developer: 
Thinking Rabbit
Also Available For:
 Game Boy, Nintendo 3DS, Nintendo Wii, Nintendo Wii U

A Brief Background:
Capcom developed Mega Man (Capcom, 1987) to establish their name in the renewed home console market, landing themselves a popular franchise known for its excessive difficulty. By 1991, Mega Man was a staple of the Nintendo Entertainment System (NES) thanks to its many sequels and, with the developers busy with Mega Man 4 (1994), Capcom outsourced Mega Man’s first Game Boy title and earned themselves another well regarded success despite Mega Man: Dr. Wily’s Revenge (Minakuchi Engineering, 1991) recycling many elements from Mega Man’s NES titles. Capcom then doubled down and outsourced the franchise to another developer to release a second Game Boy title later that same year, a decision series artist Keiji Inafune apparently believed caused Mega Man II to differ somewhat from other games in the series. Despite a later compilation of Mega Man’s Game Boy adventures being cancelled, this lukewarm remix of a game represented another of the Blue Bomber’s lengthy outings on the Game Boy and has subsequently been ported to Nintendo’s online shops and services.

The Review:
It’s interesting learning that Keiji Inafune believed Thinking Rabbit’s inexperience with the franchise led to Mega Man II feeling “different” from the other Mega Man titles as, for me, the game plays, looks, sounds, and feels exactly like a Mega Man game and is as different from Mega Man: Dr. Wily’s Revenge as Mega Man 3 (Capcom, 1990) is to Mega Man 2 (ibid, 1988). For example, Mega Man II is still a 2D, sidescrolling action/platformer; players can still pick one of four initial stages; and you’ll face a Robot Master (recycled from Mega Man 2) to acquire their signature Special Weapon. Not only that but the game’s controls are exactly the same as those of Dr. Wily’s Revenge, with A allowing you to jump, B or X firing your currently equipped weapon, and + bringing up the pause menu where you can equip a different Special Weapon or use an E-Tank (making their Game Boy debut) to restore your health. Health is again restored by picking up or finding restorative orbs, extra lives are gained from 1-Ups, and your Special Weapons can be recharged by collecting Weapon Energy pods. In addition to Mega Man 3’s password system also returning, Mega Man can now slide through narrow tunnels, beneath enemies and projectiles, and through gaps by pressing down and A. As in Mega Man 3, this feature is useful only in certain stages and circumstances and not explored much beyond taking different forks in paths or perhaps reaching hidden goodies. The same is true of certain ladders, which lead to power-ups or hazards depending on which path you take, though your slides often have to factor in drills, spikes, and potential pitfalls. As ever, you can circumvent much of the game’s difficulty with the Nintendo Switch’s rewind and save state features, though you still have to battle the knockback and large hit boxes that dogged Dr. Wily’s Revenge.

Mega Man’s repertoire has been expanded to include more of his NES abilities.

Anyone who’s played Mega Man 2 will recognise the four initial Robot Masters, their stages, their attack patterns, and their Special Weapons and battling them is no different to that game except the arena and screen is much smaller so it’s a lot harder to dodge their attacks. As always, you’re better off tackling each in a specific order to obliterate them with whichever Special Weapon is most effective against them, meaning I tackled Metal Man first to grab his Metal Blade, which cut down Wood Man despite his large Leaf Shield and leaf barrage, which in turn clogged up Air Man (despite his mini tornados filling the arena), which of course gave me the edge over “Clash Man”. This latter was probably the toughest fight as “Clash Man” doesn’t just jump around and damage you with his giant hit box like the others; he also drops a delayed explosive charge that can be tricky to dodge. Defeating Metal Man, Air Man, and “Clash Man” awards the three Rush “items” that debuted in Mega Man 2. These allow you to spring up to higher platforms, fly over bottomless spits or spike beds, or easily cut through underwater areas with Mega Man’s robotic canine, Rush. While these turn the game into a short sidescrolling shooter, you must keep an eye on your energy meter or you’re like to be sent plummeting mid-flight. After besting the first four stages, you’re transported to four more levels from Doctor Albert Wily’s space station, with these themed around stages and bosses from Mega Man 3. You’ll face Needle Man, Magnet Man, Hard Man, and Top Man, with each being exactly the same as in their NES title and bestowing the same Special Weapons (which, honestly, I only found useful for defeating their counterparts). Finally, you’ll battle Quint, an upgraded and corrupted future version of Mega Man who bounces around on Sakugarne, a pogo-stick-like item that is surprisingly useful against the final boss.

Stages are longer, more detailed, and more accurately reflect their NES counterparts.

The difference between Dr. Wily’s Revenge and Mega Man II isn’t readily apparent from the title screen alone, despite the noticeably jauntier music, but does become more obvious once you get into the game. Stages are longer and far more detailed, with gears, cogs, and a mess of drill-like platforms adorning Metal Man’s stage (alongside those conveyer belt-like platforms from Mega Man 2). Wood Man’s stage features a surprisingly detailed forest and tree trunk interior, Air Man’s stage is in the clouds and features girders and Mega Man 2’s “Goblin” platforms, and “Clash Man” resides in an ugly mess of pipes. As in the last game, Mega Man flies into space to confront Dr. Wily, though there’s now an additional cutscene where he drops you into a trap and you’re teleported to four additional stages rather than battling through different levels of Dr. Wily’s base. Needle Man’s stage has a large city in the background and essentially takes place on a construction site, while Magnet Man’s is also in the sky, with clouds obscuring enemies and you crossing gaps using the Mag Fly enemies. Hard Man’s stage is much more basic, being simple steel platforms and a plain background, while Top Man’s reminded me of a botanical garden with its glass tubes containing leaves. This latter stage, and Wood Man’s, contain underwater sections where you’re better off using Rush Marine than risk the floaty jumps. Disappearing/reappearing platforms make a return, as do insta-kill spikes, and you’ll be taking out Kaminari Goros to ride their cloud platforms across gaps. Large vertical shafts, different ladder designs (now with transparency), cannons, blind drops, and those rail-based platforms from Mega Man 2 all make appearances. When you explore Dr. Wily’s base, it sports a bizarre clock aesthetic and multiple narrow shafts and tunnels, while the ending cutscene again mirrors Dr. Wily’s Revenge by being in space and featuring a roll call of the game’s bad guys. Speaking of which, Mega Man II features far more enemy variety, recycling baddies from Mega Man 2 and 3 but I’ll take that over the handful of lame enemies seen in Dr. Wily’s Revenge.

Recycled Robot Masters are joined by a new foe and Dr. Wily’s newest three-stage weapon.

While Mega Man II performs much better than its predecessor and sports a greater number of large enemy sprites, there are still many moments where the game suffers from slowdown, screen tearing, and sprite flickering. It feels like a far bigger game thanks to you being transported to additional stages rather than straight to boss battles in Dr. Wily’s space station, though it still suffers from a lack of originality in its level design and a failure to better incorporate the various Special Weapons into each stage beyond using Rush Marine or Rush Jet to bypass certain obstacles. Drills, clamps, respawning enemies, rushing robot chickens, mechanical apes, and robots with fans in them dog your progress as much as totem poles, robotic birds, and giant mechanical cats. Bola-throwing Joes, spiked hedgehogs, and large spiked weights all make appearances alongside the usual bottomless pits, with some enemies positioned in ways that require your Special Weapons (though you’ll need all your energy for the Robot Masters). This game’s newest “Mega Man Killer” is Quint, but he’s a pretty lame penultimate boss despite his lack of a health bar. You simply slide under his pogo jump, watch for the rocks he kicks up, and blast him in the head. His Sakugarne is pretty difficult to control, but you can use it to land a lot of hits on Dr. Wily in the final confrontation, since his only weak spot is his cockpit. Dr. Wily battles you in three craft, flying between them in his little UFO vehicle, with the first being a mech walker that fires bouncy bombs and a low needle shot. Defeating that sees him switch to a tank-like vehicle and gain a cannon shot, while the third phase has him in a stationary dragon-like mech that drops missiles, rains enemy robots onto you, and tries to smash you with its extendable skull. If you’ve collected a bunch of E-Tanks, these battles are tough but mostly do-able. It helps that there’s not loads of projectiles and slowdown to deal with, though the rewind feature is obviously your saving grace.

The Summary:
Mega Man II represents a bit of a step up from Dr. Wily’s Revenge, but not much. It’s literally the same as the differences between Mega Man 2 and Mega Man 3, with Mega Man II adding only one brand new weapon to your arsenal (the Sakugarne), though it does recycle Special Weapons and the Rush abilities from those two NES titles. Sadly, they’re not utilised all that much; again, I can forgive this given the restrictions and limited hardware of the Game Boy, but it would still be nice if the game had found some way to incorporate Rush more prominently. Although the Game Boy still struggles to render all the action, Mega Man II performs far better than its predecessor, is much bigger, and features far more detailed environments. Some of them might be an eyesore but it’s still impressive given the hardware, and I always enjoy seeing it render large enemy sprites (even if they are immobile). The enemy variety was also much appreciated and a big step up from the last game, even if they are all recycled, and the music was pretty catchy, too. The hit boxes remain a frustrating obstacle, but Mega Man II seemed more forgiving in this regard, though more challenging overall with its longer stages, greater hazards, and the inclusion of four additional stages prior to the additional Robot Masters. In many ways, it’s simply a repeat of the last game but with more to look at and accomplish, which is enough to bump the score up ever-so-slightly, but there’s still a lot of room for improvement for it to match-up to its NES counterparts.  

My Rating:

Rating: 3 out of 5.

Pretty Good

Did you own Mega Man II back in the day? How do you feel it compares to Mega Man: Dr. Wily’s Revenge? Which order did you challenge the Robot Masters? Were you disappointed by Quint? What did you think to the inclusion of four additional stages in Dr. Wily’s space station? Which portable Mega Man game is your favourite? How are you celebrating the science-fiction genre this month? Whatever opinions on Mega Man II, leave them below and be sure to check out my other Mega Man reviews!

Mini Game Corner: Mega Man: Dr. Wily’s Revenge (Nintendo Switch)


January celebrates two notable dates in science-fiction history, “National Science Fiction Day” on January 2 and Arthur C. Clarke’s HAL 9000’s birthday on January 12. Accordingly, I’m dedicating January to celebrating sci-fi in an event I call “Sci-Fanuary”.


Released: 7 June 2024
Originally Released: 26 July 1991
Developer: Minakuchi Engineering
Also Available For: Game Boy, Nintendo 3DS, Nintendo Wii, Nintendo Wii U

A Brief Background:
Mega Man (Capcom, 1987) represented Capcom’s bid to make their big debut in the growing home console market. Known as “Rockman” in Japan, Mega Man was a big hit despite its excessive difficulty and, by 1991, the Blue Bomber had (eventually) become a Nintendo staple with a handful of sequels. While Capcom were busy working on Mega Man 4 (1994) for the Nintendo Entertainment System (NES), they outsourced the development of Mega Man’s Game Boy debut to Minakuchi Engineering, though long-time series artist and producer Keiji Inafune contributed by designing the newest Robot Master, Enker. Though limited by the Game Boy hardware, Mega Man: Dr. Wily’s Revenge was highly regarded at the time. Reviews praised its faithful recreation of the NES gameplay, though its difficulty and recycling of previous elements was criticised. Although a compilation of Mega Man’s subsequent Game Boy adventures was cancelled, the Blue Bomber had a healthy career on the Game Boy and his handheld adventures were later ported to Nintendo’s online shops and services.

The Review:
Mega Man: Dr. Wily’s Revenge is a 2D, sidescrolling action/platformer in which players control the fighting robot Mega Man and run-and-gun their way across four initial stages, each themed around a returning Robot Master from Mega Man. Being a Game Boy title, the controls are as simple as you would expect: you control Mega Man with the directional pad, jump with A, and fire his currently equipped weapon with either X or B. You can pause the game and select a Special Weapon using the + button, though the Special Weapons Mega Man obtains drain an energy meter, which must be refilled by collecting Weapon Energy pods that are either dropped by the constantly respawning enemies or found in each stage. You can also find the odd 1-Up for an extra life and refills for your health bar, both of which are sorely needed as Dr. Wily’s Revenge is one challenging game. While Mega Man can take a fair few hits, hit boxes are large thanks to the Game Boy’s small screen and the surprisingly big sprites. Mega Man also gets knocked back when hit and you’ll constantly have to watch for insta-kill hazards like spikes, lava, and bottomless pits. Thankfully, the password system introduced in Mega Man 3 (Capcom, 1990) appears here and you can abuse the Nintendo Switch’s save state and rewind feature to your heart’s content, though it’s sometimes easier to lose a life and respawn from a checkpoint with full health than risk battling a boss with critically low health.

Mega Man uses recycled abilities to take on some familiar faces in a semi-new adventure.

If you’ve played the original Mega Man, you’ll be very familiar with the Special Weapons on offer here. You’ll get the Thunder Beam, Ice Slasher, Fire Storm, and Rolling Cutter from the four primary Robot Masters, with the Thunder Beam firing horizontally and vertically, Ice Slasher firing frigid arrows that temporarily freeze enemies, Fire Storm blasting a fireball and creating a brief shield, and the Rolling Cutter tossing a boomerang-like projectile. You can challenge the four Robot Masters in any order but, as each has a specific weakness, it’s better to go after them with the right Special Weapon on hand as you’re stuck in a claustrophobic arena and dodging their attacks is incredibly difficult thanks to those big hit boxes. Once you’ve gotten the fourth Special Weapon, you’ll also get the “Carry” weapon, which creates a temporary floating platform and is key to reach out of the way areas or crossing spike beds or bottomless pits. When battling through Dr. Wily’s fortress, you’ll encounter four Robot Masters lifted from Mega Man 2 (Capcom, 1988) and gain four additional Special Weapons that again function exactly the same as before. The Time Stopper freezes all enemies until your meter drains and leaves you unable to attack, the Quick Boomerang tosses a few small boomerangs in quick succession, the Bubble Lead fires slow but powerful bubbles, and the Atomic Fire shoots flaming spheres that you can charge by holding X or B. Finally, defeating Enker earns you the Mirror Buster, which reflects projectiles if and when you can get the timing right. There is no slide ability here, no Rush, and very few opportunities to use your weapons in stages beyond using the Atomic Fire to destroy optional blocks in Dr. Wily’s stages.

Stages are surprisingly detailed, though the hardware struggles at times.

Despite being a Game Boy title and thus devoid of any colour, Dr. Wily’s Revenge surprised me in how detailed it is. There’s no intro or story to speak of, but the title screen is surprisingly vivid and all the sprites are big and cartoonish. Mega Man even blinks when left idle and the backgrounds are surprisingly not just plain voids, with you scrambling around on rooftops against a backdrop of clouds at times. You’ll clamber up ladders (sadly lacking transparency), hop to moving or temporary platforms, and dodge hazards such as blowing fans, electrical currents, plumes of fire, and the ever-annoying spikes. Each stage gives a sense of a theme, with Elec Man’s stage kind of being like a power plant, Ice Man’s being covered in snow that slows your movements and ice that sends you skidding to your doom, Fire Man’s stage featuring wooden ladders and rivers of flashing lava, and Cut Man’s stage being packed with girders and little buzzsaw enemies. Enemy variety is a little lacking; Metall and Sniper Joe are here, alongside little propeller enemies, loads of lame +-shaped robots, sentient scissor blades, and little birds that drop eggs full of smaller minions. Larger enemies like the Big Eyes and Hotheads act like mini bosses, slowing the action to a crawl and causing the sprites to flicker and the engine to struggle to render everything onscreen, and you must blast the Lightning Lords to ride their cloud mounts through the skies of Elec Man’s stage. Enemies respawn and can be “farmed” for goodies, but some (looking at you, Big Eye) are difficult to defeat without expending your Special Weapon energy. You’ll want to be fully powered up when you tackle the Robot Masters as, again, the game slows to a crawl once they start jumping or flying about and firing their projectiles, and the hit boxes are so big that it’s almost impossible to defeat them without taking at least a little damage, even with the right Special Weapon equipped.

Once you’ve bested the returning bosses, you’ll face Dr. Wily’s newest, cheap-ass creations.

Visually, the game does a decent job of recreating its NES counterparts. Sure, stages aren’t as colourful or varied and Mega Man’s sprite doesn’t change when he has Special Weapons equipped, but the same vertical shafts are here, many of the same gimmicks and mechanics are present, and the music holds up just as well as Mega Man 2’s. Larger sprite art is used to show Mega Man’s arsenal being upgraded, in-game graphics recreate Dr. Wily’s escape to his fortress and his humiliating defeat, and we still get a fun roll call during the credits. Naturally, beating the four stages isn’t enough and you’ll need to fight your way through Dr. Wily’s fortress, a mish-mash of every enemy, hazard, and gimmick seen before, including ice blocks that melt when you stand on them, flame bursts across the ground, and tricky platforming sessions (though now against the fun background of a space station!) Some of these hazards are used in tandem, such as fans pushing you back as you hop to platforms over a spike pit, or electrical bursts appearing in spiked shafts, or forcing you into shoot-outs with Sniper Joe on precarious platforms. After besting Enker (who can absorb and redirect your shots but its otherwise pretty easy to beat; literally just keep shooting and dodging), you’ll take on Dr. Wily’s newest death machine. This large, bird-like mech is completely stationary but initially spits buzzsaws that you must jump over or run under to attack with the Fire Storm. The second phase is much harder as Dr. Wily fires a semi-homing claw appendage and super-fast high and low projectiles. You need to find the space to avoid taking damage and use frame-perfect timing to reflect his shots with the Mirror Buster to win the day here, which can be very frustrating since everything is so hard to avoid given the restricted screen space.

The Summary:
I was surprised by Mega Man: Dr. Wily’s Revenge. Given the restrictions and limited hardware of the Game Boy, I didn’t expect the game to look or sound as good as it did. The sprites and environments are nice and chunky and detailed, technically surpassing the first two NES titles in many ways, and the game does a great job of recreating the gameplay and gimmicks of its home console cousins. Mega Man controls exactly as I’d expect and the gameplay loop is the same, but distilled into a portable package. Yet, I give the game props for having you face different Robot Masters in the endgame rather than simply repeating the previous four boss battles. Unfortunately, the limitations do hold this game back. Screens are largely empty, with only a handful of sprites and hazards seen at any one time, because the Game Boy just cannot render it all. This leads to some of the worst slow down and screen tearing I’ve ever seen as sprites fade out of existence and the game struggles to chug along. I can somewhat forgive the recycling of elements from Mega Man and Mega Man 2 and commend the developers for recontextualising them in a new adventure but, at the same time, why not just port the first two games since you’re not doing anything really new with the concept? The game is also atrociously difficult, and not just because the hit boxes are so large. I have no idea how anyone beat this back in the day without rewind and save states because it was pretty tough to beat even with those features. Unfair and needlessly difficult at times thanks to the hardware limitations, Dr. Wily’s Revenge is a fair crack at offering a portable Mega Man adventure but ultimately has too much working against it to be as enjoyable as I’d like.

My Rating:

Rating: 2 out of 5.

Could Be Better

Was Mega Man: Dr. Wily’s Revenge in your Game Boy library back in the day or did you first play it on Nintendo Switch? Which order did you tackle the game’s Robot Masters? Were you disappointed that the bosses and Special Weapons were recycled from the NES games? What did you think to the difficulty of the game? Which portable Mega Man game is your favourite? How are you celebrating all things science-fiction this month? Whatever your thoughts and memories of Mega Man, feel free to leave them below and go check out my other Mega Man reviews!

Mini Game Corner [Sci-Fanuary]: Mega Man: The Wily Wars (Nintendo Switch)


January celebrates two notable dates in science-fiction history, “National Science Fiction Day” on January 2 and Arthur C. Clarke’s HAL 9000’s birthday on January 12. Accordingly, I’m dedicating January to celebrating sci-fi with an event I call “Sci-Fanuary”.


Released: 30 June 2022
Originally Released: 21 October 1994
Developer: Minakuchi Engineering
Also Available For: Mega Drive, Mega Drive Mini, and the SEGA Channel

A Brief Background:
Before 1987, Capcom was mostly known for their arcade titles. The 1987 release of Mega Man (or “Rockman” in Japan) changed all of that. Widely regarded as an 8-bit classic, Mega Man was notorious for its difficulty and maintained this reputation across its many sequels and spin-offs. For decades, Mega Man was a Nintendo staple thanks to Capcom outsourcing the franchise to Minakuchi Engineering (and, briefly, Thinking Rabbit) for the Blue Bomber’s Game Boy ventures. Capcom also teamed with Minakuchi Engineering for Mega Man’s one and only Mega Drive appearance, which proved to be a nightmare because, as related by series artist Keiji Inafune, the developers struggled with the debugging procedure. Inafune stepped in to assist and also designed the new Wily Tower bosses for the game, whose North American release was first delayed and then cancelled due to technical issues. The Wily Wars eventually surfaced on the subscription-based SEGA Channel but it would take decades for it to be widely available to gamers. Those lucky enough to play it gave mostly positive reviews that praised the graphical overhaul and additional gameplay mechanics, though the sluggish control scheme and awkward hit detection was noted.

The Review:
I’ve already reviewed the first three Mega Man games (and a whole bunch of others) so it seems superfluous to go into great detail for this 16-bit remake collection. Essentially, The Wily Wars recreates Mega Man’s first three adventures from his Nintendo days in glorious, full-colour, 16-bit graphics. You get three save files to play with, that ability to switch around the game’s simple controls, and a sound and music test and that’s it. You play each game in turn, gaining an “All Clear” screen upon completing them, and each game stays true to their original mechanics. So, for example, you won’t be sliding, charging, or utilising E-Tanks in Mega Man, which is a bit of a shame as it would’ve been nice to see the later features incorporated to add a new challenge. By default, B fires your currently equipped weapon, A sees you jump, and you can pause the action and open the in-game menu with either Y or +. From here, you can select an E-Tank to refill your health when playing Mega Man 2 (Capcom, 1988) or Mega Man 3 (Capcom, 1990) and equip different Special Weapons. As in the original games, each Special Weapon is earned by defeating Robot Masters and each one has a finite amount of energy. Exploring stages and defeating enemies grants you small or large refills for your health and weapon energy; you’ll also find 1-ups, E-Tanks and, in Mega Man, can add to your high score by playing through the game.

The 16-bit visuals make Mega Man pop like never before while retaining the core gameplay.

Naturally, I took on Mega Man first and the graphical overhaul is immediate right from the start. Mega Man looks great as a 16-bit sprite; he still only blinks when left idle but it’s nice to see him resembling his box art for a change. Stages are obviously far more impressive here, with elements like rocky grounds, mechanical platforms, and piping given far more detail. There are some instances where the background scrolls past in a version of parallax scrolling; mountains, clouds, and scenes of destruction can also be seen in the backgrounds. Ice Man and Fire Man get the biggest glow ups in terms of visuals, with their slippery, snowy ground and flash-frozen backgrounds and shimmering heat effect and rushing lava, respectively. You can still freeze fire plumes with the Ice Slasher and grab certain blocks with the Super Arm, and this is still the only way to get the Magnet Beam to navigate Doctor Albert Wily’s fortress. The action is a little zoomed out, giving you more room to manoeuvre; this is especially noticeable in boss arenas, where it’s easier than ever to avoid attacks thanks to the extra screen space. Sprites still have sizable hit boxes and enemies will still respawn over and over, but Mega Man has never looked or performed better, with no slowdown or screen tearing evident in my playthrough. Things are a little bland, though; Sonic the Hedgehog (Sonic Team, 1991) this is not and, frankly, the presentation doesn’t seem to match what the superior Mega Drive was capable of in 1994. The music has also been remixed and, similarly, has a decidedly tinny and grainy sound that isn’t up to Nintendo’s 8-bit standards let alone the Mega Drive’s higher sound quality. Still, we get some decent, partially animated sprite and pixel art and all the same Robot Masters and bosses return. As you’d expect, all the same strategies work just as well this time, with the exception of the Yellow Devil; you can no longer exploit the pause function to easily defeat him. Still, they all look very vibrant and dynamic even when you’re decimating them with their main weakness and it’s immensely satisfying seeing Dr. Wily beg for mercy in 16-bit glory.

Mega Man 2‘s stages and final bosses greatly benefit from the graphical upgrade.

The visual upgrade continues in the game’s redesign of Mega Man 2 and is evident right from the start. However, while the game’s iconic title screen has been rendered in the same 16-bit art style, the city in the background does look a bit pixelated. This effect continues in Dr. Wily’s third stage and the Robot Master teleporter room is now a mess of animated panels, but most stages shine from the additional processing power. Bubble Man’s stage, for example, is awash with a very impressive waterfall effect that showcases some transparency effects; Wood Man’s forest has never been denser; you’ll hop behind big fluffy clouds like never before in Air Man’s stage; and Flash Man’s crystal mine is very beautiful with all its gleaming rocks and slippery crystal platforms. Mega Man 2 is further bolstered by big pixel art renditions of Mega Man receiving his upgrades; these are joined by incoming calls from Doctor Thomas Light that grant you the Items you’ll need to cross spike beds and navigate Dr. Wily’s stages. Large enemy sprites are better than ever here; there’s no slowdown when the Lantern Fish and Hot Dogs spawn in, no matter how many Shrinks and flame bursts they fire, and Quick Man’s stage still has its fading light gimmick and insta-death lasers. These are actually easier to avoid this time around; maybe it’s because of my past experience with the game but I relied on the Time Stopper far less this time around. A bit of parallax scrolling and an abundance of blinking lights and environment effects add to the visual appeal of this remake, though I will say that the stage designs could’ve been tweaked as there’s often a lot of empty space that feels wasted. The Robot Masters retain all their weaknesses, though their intros have bene reworked, but it’s the big bosses in Dr. Wily’s castle that benefit the most. Mecha Dragon, Guts Tank, and Dr. Wily’s machines are now fought against detailed backgrounds rather than a plain black void and you have more room to avoid their attacks. Mega Man did seem a touch slipperier in this game, I will admit, and the game seems to be deadlocked into its “Difficult” mode, meaning those damn Sniper Joes take a lot of hits or waiting around to destroy. Still, the visual glow up and the remixed soundtrack make this already great game even better and I loved the personalities of the quirky Robot Masters, which shined through much clearer thanks to the Mega Drive’s greater processing power.

Despite the Mega Drive’s increased power, the system struggles at times in Mega Man 3.

Things are very much the same for Mega Man 3, though Mega Man can now slide by pressing down and A and his weapon select screen has been changed. It now appears at the bottom of the screen, which I found to be a bit clunkier. Otherwise, the same kind of semi-parallax scrolling can be found here, with backgrounds moving with you through windows in Top Man’s stage and layers of pipes and machinery in Spark Man’s stage. Background details in general are much more detailed than in the original games: lava flows and bubbles in Shadow Man’s sewer-like dwelling, Snake Man’s jungle is much denser, and Needle Man’s clear sky reveals a city in the distance. Some stages are cluttered by the additional background details, though: Spark Man’s, for example, is so lively and has so many clashing elements that it was easy to miss pits and hazards. Gemini Man’s crystal cave is a step down from Flash Man’s, though the coral-infested, tadpole-dwelling depths have never looked better. Proto Man’s sprite doesn’t quite match up with the upgrade given to Mega Man, Dr. Light, and the enemy sprites, though, appearing strangely small and simple. The game still handles far better than its 8-bit forefathers, with backgrounds appearing for all boss battles and larger enemies like Bikkys, the Giant Metall, Penpen Makers, and Tama appearing (with limited frames of animation) without any slowdown. However, the game does struggle when you battle Gemini Man as he duplicates himself and sends his Gemini Laser ricocheting about. The action also slows whenever you fire this weapon, which is a shame as The Wily Wars had coped with these issues really well up to this point. As in the previous games, there’s much more room to manoeuvre here, giving you more margin for error in boss battles, though the battle against the tedious Yellow Devil MK-II is just as annoying since you have to wait for him to assemble. He also looks super derpy here, though you can at least get a few more shots in with the Hard Knuckle. You’ll still revisit four previous stages and battle the Robot Masters from Mega Man 2, with the Doc Robot assuming their abilities, and fly over spike beds on Rush Jet. Dr. Wily’s crawling machine is easier to avoid thanks to the extra space, negating its large hit box, and the gigantic Gamma now looks gloriously cartoonish as a huge, detailed background image that smashes up the lower platform with its fists. You’ll also still battle Proto Man and be left clueless regarding his true identity, despite redrawn, sprite-based cutscenes where Dr. Light muses about his true motivations and the shield-carrying anti-hero still watches his brother from afar.

Customise Mega Man to your liking and challenge new stages and bosses in the Wily Tower.

Finishing all three games on the same save file unlocks an additional mode exclusive to The Wily Wars: The “Wily Tower”. This mode remixes bits and pieces from all three games, including enemies, hazards, and stage elements to present Dr. Wily’s latest challenge to his rival. The begin with, you can challenge one of three new “Genesis Unit” Robot Masters before taking on the titular tower itself (which is essentially Dr. Wily’s newest fortress). Before each stage, you get to equip Special Weapons, Items, and Rush abilities from all three games. You can mix and match up to eight Special Weapons and set three Item slots, allowing you to use, say, Rush Jet alongside Item-3. This is a really fun feature and one I honestly wish the developers had applied to the other three games; you’ll need a guide or something to help you pick the right loadout for each stage, though. This is because, while you can get by perfectly fine for the most part, you’ll open up alternative paths using the likes of the Crash Bomb, freeze flame bursts with the Ice Shooter, and of course reach different areas with Rush. The Genesis Units are also weak to specific Special Weapons, so it’s fun to mix and match and see what works. While stages remix elements from all three games in a fun way, there are a lot of Hammer Joes in each stage. Still, it’s fun seeing Snake Man’s stage suddenly emerge from the grassy hills, the layered island and water visuals of Mega Water S’s stage and seeing Jamacys emerge from pipes in Hyper Storm H’s stage. The three Genesis Units are all based on characters from Journey to the West (Cheng’en, 1592): Buster Rod G is modelled after Sun Wukong and attacks with an extendable lance and duplicates; Mega Water S is based on Sha Wujing and boasts a water shield and jet stream; and Hyper Storm H is based Zhu Bajie and sports two health bars! However, Hyper Storm H may look intimidating, and his stage may sport damaging spikes, but he’s the easiest of the three, with Mega Water S being the trickiest since he can force you into insta-death spikes and Buster Rod G being the most frustrating since he can deflect your shots and shield himself at the same time.

The Wily Tower will test your skills, though the final boss is a bit of a pushover.

Clearing these three stages sees you challenge the Wily Tower itself, the only part of this mode you can replay after clearing it. These stages recycle elements from Dr. Wily’s previous fortresses and other stages, as before, with you riding tracks like in Mega Man, battling Hot Dogs and riding Lighting Lord’s clouds like in Mega Man 2, avoiding turbines, hopping to spinning tops, and more. Naturally, Dr. Wily has some defences you must past to reach him. The first, Snakey, is a fire serpent that pops out of lava and breathes fire or leaps over you spitting fireballs. The hardest thing about this fight is not falling in the lava courtesy of the small, springy platform you fight on; if you have the Ice Slasher or Bubble Lead, though, it’s a joke. The Iron Ball is even easier, despite firing the Gemini Laser. This easily avoided sphere bounces about a bit and is only vulnerable when its face is exposed, but it’ll crumble from a few shots of the Thunder Beam. You’ll then battle Buster Rod G again, this time while freefalling on pieces of a destroyed walkway, which is very unique. He’s technically much easier here as he just fires shots at you while hopping to platforms, but he can be tricky to hit unless you have the Air Shooter or Metal Blade on hand. Your final challenge is Dr. Wily’s giant mech, a machine so big that we’re denied a background and you must first destroy its legs to attack its torso. In this first phase, it just stomps about and fires homing missiles, but you can use the rising blocks to blast the sphere at its hip with Crash Bomber, Spark Shot, or Thunder Beam. Its torso assumes a boxer’s stance and tries to smack you with its spiked fists, which you can hop on to pummel its face with Hard Knuckles while also freely chipping away with Metal Blades. Once destroyed, Dr. Wily resorts to his UFO once more, dropping time bombs that are easily avoided. Though he stays out of reach at the top of the screen, you can finish him off with the Thunder Beam to complete this mode. It’s a shame there’s no boss rush and you still can’t play as Proto Man, but I enjoyed the “Wily Tower” as an additional mode so much that I honestly would’ve liked to see its mechanics applied to the other games, at least after defeating this bonus mode, just to mix up the classics.

The Summary:
Mega Man: The Wily Wars is an interesting conundrum. On the surface, it sounds great! The first three Mega Man titles on one cartridge, with save files, a bonus game mode, and all brought to life by 16-bit visuals? Sign me up, right? Well, it’s a bit of a mixed bag, really. Graphically, yes, the games obviously look and run better than they did on the Nintendo Entertainment System. There’s no slowdown until you encounter the Gemini Laser, sprites and stages are far more detailed, and the layering and visual glow-up given to these 8-bit titles is immediate and eye-catching. Yet, I can’t help but feel like they fall short of what the Mega Drive was truly capable of. They remind me more of the James Pond games (Millennium Interactive, 1990 to 1993) which, while colourful and fun in their own right, aren’t exactly comparable, graphically, the Sonic games or Rocket Knight Adventures (Konami, 1993), which released a year prior to The Wily Wars. The action is a bit too zoomed out (a strange complaint given how frustrating Mega Man’s portable adventures were), reducing the detail in the sprites and arguably making the games easier by giving you more room to jump about. They’re still challenging titles, don’t get me wrong, but I think the developers missed a trick by not trying to do more than just improve the visuals. They copied the games so faithfully that they even included Mega Man’s useless score system, which is just baffling. I think it would’ve been better to look at the improvements the series had made by this point and apply them to all three games, sprucing up the interface and mechanics. Capcom would later do something like this with Mega Man Powered Up (2006), but it’s baffling to mee that Mega Man was up to his sixth game by this point and none of his then-modern mechanics (a charged shot, Rush’s other capabilities, and such) were included here. The Wily Wars’ main appealing factors are its visuals and its rarity; it’s a curio few got to play and thus worth a look, if only to challenge your skills in the enjoyable Wily Tower mode. However, I think I preferred playing the 8-bit versions, flaws and all, just because they had a charm and heart to them that was somewhat lacking here simply because The Wily Wars could’ve been so much more and it played things far too safe.

My Rating:

Rating: 3 out of 5.

Pretty Good

You didn’t own Mega Man: The Wily Wars back in the day so I won’t ask. But, when did you first play it? What did you think to the graphical overhaul given to the first three games? Were you disappointed that Mega Man didn’t sport more of his later abilities? Did you ever complete the Wily Tower? Would you have liked to see its mechanics applied to the other games? Which Mega Man game is your favourite? How are you celebrating sci-fi this month? Whatever you think about Mega Man, comment below and then check out my other Mega Man reviews!

Game Corner [Sci-Fanuary]: Star Fox 64 / Lylat Wars (Nintendo Switch)


January celebrates two notable dates in science-fiction history, “National Science Fiction Day” on January 2 and Arthur C. Clarke’s HAL 9000’s birthday on January 12. Accordingly, I’m dedicating January to celebrating sci-fi in an event I call “Sci-Fanuary”.


Released: 25 October 2021
Originally Released: 27 April 1997
Developer: Nintendo EAD
Also Available For: iQue Player, Nintendo 64, Nintendo Wii, Nintendo Wii U (Original); Nintendo 3DS (Remake)

The Background:
In their effort to break into the 16-bit market, Nintendo forged a close relationship with Argonaut Software, leading to the ground-breaking creation of the “Super FX” chip and the Super Nintendo Entertainment System’s (SNES) ability to process 3D graphics. Nintendo and Argonaut drew inspiration from the original Star Wars trilogy (Various, 1977 to 1983) to showcase the chip with arcade shooter Star Fox (1993). However, despite becoming the fastest-selling videogame in North America and garnering rave reviews, a sequel was unceremoniously cancelled so Nintendo could focus on the more powerful Nintendo 64. Although gamers had to wait over twenty years for Star Fox 2 to be released, lead producer and series creator Shigeru Miyamoto spearheaded a Nintendo 64 entry that began as a port of the original game as the developers struggled to adapt to the Nintendo 64’s hardware. After six months of testing, Nintendo higher-ups were apparently unenthusiastic, though it took only a ten second demonstration at Shoshinkai 1995 for the project to be approved. Artist Takaya Imamura was heavily involved in many aspects of the game, from the art direction to gameplay mechanics, while Miyamoto sought to both build upon the existing mechanics and recycle some of the work that had gone into the cancelled Star Fox 2, specifically the multiplayer mode and branching paths. The developers created new craft for the Star Fox team to utilise (though on-foot sections were scrapped due to time constraints), and the game was the first in the Nintendo 64 library to use the Rumble Pak peripheral. Retitled to Lylat Wars in Europe, Star Fox 64 released to critical acclaim. The multiplayer and gameplay were highly praised, and it even initially outsold Super Mario 64 (Nintendo EAD, 1996). Despite this, it would be another five years before there was another game in the franchise, though it did receive an equally successful 3DS remake in 2011 alongside numerous ports, and it’s highly regarded as one of the best in the series.

The Plot:
Five years after being exiled for biological warfare, the mad scientist Andross attacks the Lylat system, causing General Pepper to hire the Star Fox team – Fox McCloud, Falco Lombardi, Slippy Toad, and Peppy Hare – to defend the worlds within.

Gameplay and Power-Ups:
Star Fox 64 is an arcade-style, space-based shooter that largely takes place on-rails and with you back in control of an Arwing space craft. In many respects, the game is a remake of the original Star Fox, taking few elements from the cancelled Star Fox 2. You’re back controlling Fox alone with three AI-controlled wingmen helping you out, and there are no real-time strategy elements to think about (though the path you take and the missions you tackle will change depending on how you play). If you’re new to the game, you can get to grips with the controls in the “Training” mode, or jump right into the main story and take on seven stages (or “Missions”) to confront Andross’s forces. Players begin with two lives and a basic shield meter, which depletes as you take damage and can be refilled with silver rings, extended with gold rings, and replenished by passing through checkpoints. You blast enemy ships with A, holding the button to charge a homing shot that targets the nearest enemy, or destroy all onscreen enemies with one of your limited supply of Nova bombs with B. Y boosts you ahead, which is great for rushing past hazards, chasing down enemies, or outrunning ships on your tail. X brakes, which is also great for avoiding hazards and having pursuing craft fly past you, though this and the boost are tied to a small, replenishing meter to keep you from abusing their functionality. ZL and R allow you to bank, aiding in strafing and quickly sweeping enemy swarms. Double tapping either performs a “barrel roll” to evade and deflect incoming fire, and the left and right sicks execute a U-turn (though I struggled with this nine times out of ten).

Fox has more versatility, vehicles, and options than ever in this fun arcade shooter.

The right stick also switches to a cockpit view, if that’s your preference, though I was very impressed with how the game handled from the standard third-person viewpoint, especially compared to the last two games. The onscreen aiming reticule helps, for sure, as do the tighter, far more responsive controls that makes flying a breeze. Things get a little trickier when you enter “All-Range Mode”, where you’re confined to a set arena, generally to battle a boss or attack a central target. I found it a bit difficult to get my bearings in these situations, generally crashing into objects and being forced back into the fight by an invisible border, which my wingmen were quick to comment on. Yor wingmen offer advice encouragement, criticism, and require your help constantly. Generally, they’re pretty useful and will attack targets, but you can’t command them and they (Slippy, usually) are always getting into trouble or flying into your laser fire. It pays to keep them healthy, however; if they take too much damage and leave, you’ll lose out on Slippy’s analysis of bosses and the accompanying health meter, Peppy’s gameplay advice, and Falco’s alternative paths. Depending on which route you take, you’ll also be aided by Bill Grey or Katt Monroe, and ROB 64 will occasionally provide helpful pick-ups, as indicated by an onscreen notification to flick the right stick, or provide cover fire in the Great Fox. Players also take to the ground in the Landmaster tank and the sea in the Blue Marine, which have all the same capabilities as the Arwing except the Landmaster can’t fly (it can briefly hover, though I could never remember which shoulder buttons to press to do this) and the Blue Marine fires homing torpedoes. While there’s only one underwater mission, Landmaster missions are a nice change of pace but aiming can be a little trickier, something made even more troublesome by your Arwing-based wingmen still needing your help despite having the high ground. If you take too many hits, your ship will sustain heavy damage to its wings, which can be repaired with the Spare Wing pick-up. Your lasers can also be powered-up, and you’ll gain 1-Ups either by finding them or finishing a mission with a high kill count.

Missions, objectives, and the game’s difficulty all change based on how you play.

Your performance is graded at the end of every mission; your remaining wingmen and your health is tallied against your kill count, which increases your chances for a 1-Up. It’s advisable to avoid being too trigger happy as you’ll rob yourself of your backup while they go in for repairs, and General Pepper is billed for property damage at the game’s end. Generally, missions simply involve flying through a set course, defeating enemies, dodging hazards, and taking out a boss. However, even linear missions can hide secret paths; downing a set number of enemies, flying through certain alcoves, defeating rival team Star Wolf, and shooting switches can lead to alternate paths both in the mission and on the main map. The path you take dictates the game’s difficulty (with the top path being the hardest), though you can opt to change your path if you wish. Some missions task you with completing an objective in a time limit; others have you destroying shield generators, rushing through narrow corridors, or blasting through asteroid belts. When on Solar, your shield constantly drains from the intense heat; on Titania, you’ll bomb across the sand avoiding collapsing ruins in search of Slippy. Katina sees you defending a pyramid base from a swarm of enemy fighters alongside Bill, and Macbeth has you chase after a train, blasting boulders and defensive towers. Warp gates appear sporadically, allowing you to skip ahead, and you’ll face battleships, space stations, and swarming forces as you approach Venom, Andross’s home base. Walls, girders, fire plumes, space debris, and turrets will test your reaction times, and you’ll occasionally have to pick different paths and make tight turns as you race towards (and away from) Andross.

Presentation:
I’ve always said one of the main things holding back Star Fox was the awful polygonal graphics. They might’ve been impressive at the time, but I never liked them and they really ruined my experience in a lot of ways. Thankfully, that’s not an issue here with the superior power of the Nintendo 64. The entire game is brought to life through polygons (with the exception of some background elements and such, I’m sure), with the correct textures and rendering making for a smooth and far more pleasant experience. The game’s story and character interaction are all fully voiced (a rarity even at the end of the Nintendo 64’s lifecycle let alone the start), and the cast all have distinctive personalities: Peppy is wise and seasoned, Slippy a pain in the ass, and Falco a stubborn jerk. Although most cutscenes relegate the crew to amusing flapping heads, each mission gets an intro and outro, generally showing the team checking in or setting the stage for the current conflict. The game’s sound effects and music are also top-notch, with stirring military themes, adventurous tunes, and ominous overtures adding to the increased stakes as stages get progressively difficult. Some interesting touches are included here and there, such as planets looming into view when you’re blasting through space, enemy tanks toppling columns, and the very architecture itself coming to life around you. As you’d expect from the Nintendo 64, there’s some pop-up and fog effects here, but it’s generally masked or incorporated into a level’s structure, or the action ramps up to compensate.

The technology has finally caught up with the concept to present a charming action romp.

There’s quite a bit of variety to the mission locations in Star Fox 64; you view your current path and its branches from a rotatable space map, encouraging experimentation to visit new worlds, with their objectives tweaked depending on your path. Things start off familiarly enough with the distinctly Earth-like Corneria, with its river-filled mountains and futuristic main city. Weather effects and seasons taint the remaining planets in the Lylat system: Fortuna is the icy home to one of Andross’s outer bases, Solar is quite literally a raging star, Titania is a desert world filled with ruins and beset by a raging sandstorm, and Aquas takes place in the ocean depths. When partaking in space missions, you’ll blast towards stars, constellations, and planets taking on vaguely Star Wars-like battleships, debris, asteroids, lumbering craft, and surprise attacks from swarming, Space Invaders-esque (Taito, 1978) ships. Even confined areas like Bolse can have a lot going on with their intricate mechanical textures, endless enemy swarms, and unique objectives. Sure, it’s all a bit quaint these days, with blocky polygons and out-dated graphics, but Star Fox 64 has aged far better than the first game. The on-rails action keeps you moving, lasers and explosions and interesting obstacles are as constant as cries for help and warning notifications, and there’s always something to see, collect, shoot at, or avoid as you blast along. Although I found the stage aggravating and full of hazards, Macbeth was a great example of this as enemy ships fly overhead, the train trundles along firing concussive blasts and dropping boulders, and you’re constantly swerving to avoid obstacles and target everything in sight.

Enemies and Bosses:
If there’s a downside to Star Fox 64, it’s mostly the enemies. Indistinct polygonal crafts of various sizes pop up, fly in, or swarm around each area, blasting at you or charging into you or chasing Slippy and forcing you to rescue her for the hundredth time. They’re easily shot down with your primary weapon but it’s recommended you charge a shot to take out multiple foes at once (and net yourself a power-up and a hit combo in the process). Turrets, mines (both land, sea, and space), towers, and bigger swarms become more frequent as you progress. Snake-like Moras weave throughout the Meteo asteroid field, whole swarms fill the screen with grid-like laser patterns, bee-like fighters dance about firing coloured rings, and winged craft rise from Solar’s burning depths. Some of the more interesting enemies are land-based, such as the Garudas (construction robots who topple buildings and toss girders at you) and the giant, crab-like walkers of Titania. Anime-like Shogun Troopers attack the Corerian fleet in Sector Y, disc-like defence station platforms and large battle cruisers act as both hazards and targets in Area 6, and you’ll be hard-pressed to destroy each section of the seemingly unstoppable train on Macbeth, especially while blasting tanks, towers, and through gates. As versatile as Andross’s forces are, often splitting apart and flying at you as horizontal and vertical hazards, his home world of Venom is rife with buzzing swarms, tight turns, explosive booby traps, and walls that sprout hazards at the command of the stone golem, Golemech.

The game’s not short on gigantic bosses to challenge your skills.

Each mission culminates in a boss battle, though some missions have more than one depending on how well you play or will add additional phases and challenges (such as a time limit) to bosses. It’s recommended that you keep Slippy alive as that’s the only way you’ll properly gauge your progress against the boss as she brings up their health bar, though pieces of them will break off as you attack. Many are also accompanied by or spawn smaller enemy craft or fire destructible projectiles, which are worth targeting if your shield or bombs are low. Finally, the general strategy against these bosses is to simply avoid their attacks and target their weak spot (often a glowing yellow target), though you will have to adapt to All-Range Mode and partake in some tricky dogfights in some missions. On Corneria, you’ll battle either an Attack Carrier or Granga’s Mech, with the latter being the harder option. The Attack Carrier’s weak spots are small but it’s dead simple to avoid its shots and blast its wings off, while Graga stomps about firing homing missiles and making his mech a hard target to track. When facing the Meteo Crusher, fire when the central metal plate rotates to expose the weak spot but watch for the big Death Star-like laser it fires and its second phase where it flips around to shoot from the front. The giant clam Bacoon awaits on Aquas, the heavily armoured Sarumarine on Zoness, and the crab-like Vulcain on Solar, with this latter swiping its pincers, crating lava tidal waves, spewing fie plumes, and spitting flaming boulders. There’s even a fun Independence Day (Emmerich, 1996) homage when you team up with Bill to attack a gigantic, saucer-like alien mothership on Katina. As mentioned, Macbeth really aggravated me the first time through as the Forever Train was a difficult battle. A winged mech detaches from it and rains spears onto the track, but it’ll also crash into you if you don’t take it out fast enough at the end. However, if you target eight switches dotted alongside the main train track, you can one-shot the boss with a cutscene!

After besting Star Wolf and all his forces, you’ll take on the monstrous ape-thing Andross!

After taking out the security facility on Boise, you’ll infiltrate Andross’s pyramid-like base and chase down Golemech, blasting away his sandstone hide to attack his mechanical innards. You’ll battle the Spyborg in Sector X, which launches its fists at you and fires projectiles from its head. Take too long battling it and it’ll swipe Slippy to Titania, forcing you to rescue her from Goras, which has Slippy hostage in one pincer and fires lasers with the other. Target the limbs first, then switch to the chest and heart to bring it down. To finish Sector Y, you’ll chase down and destroy some super-fast Shogun Troopers and the larger, chrome-plated Shogun who eventually (and conveniently) settles atop an attack carrier and makes itself an easy target. The Gorgon super laser in Area 6 proved quite a challenge; you need to destroy its extendable tentacles and attack craft, then the three energy spheres inside it, all to finally expose its inner core multiple times over to succeed, By far your most persistent foes will be rival team Star Wolf, who you’ll face numerous times. Sometimes you can ignore them in favour of other objectives, but if you engage then you’re in for a tough dog fight. Star Wolf and his team love to come at you from behind and chase down your wingmen, and their ships have the same capabilities as yours, making them formidable foes. I found the battle against them on Venom particularly frustrating due to the enclosed space, them sporting shields to negate your charge shot and bombs, and Andrew Oikonny being a douche and not getting off my ass! No matter which path you take, you’ll end up facing Andross alone with Fox, though this giant disembodied ape head only shows his true form (a giant brain!) on the hardest path. Andross attacks by swiping his hands, firing an electrical blast from his fingertip, and sucking you in to eat you. Target his eyes to briefly stun him, destroy each hand in turn, and drop a bomb in his mouth and you’ll soon encounter his second form, a mechanical devil head that chomps at you. Destroying this is enough for the easy and medium paths, but the final form sees you desperately flying around blasting first Andross’s eyes and then the grey matter on the back of his brain as he teleports about, then desperately following Fox’s father as he leads you to safety.

Additional Features:
As mentioned, there are three paths to choose in Star Fox 64, though you really need to be paying attention in missions to figure out how to tackle the different levels and challenges. Rescuing Falco or ignoring Star Wolf or prioritising kills will put you on different paths and, while you can change to a lower path, you can’t change up to a higher one. You’ll get slightly different endings for each, with Andross only being properly destroyed on the hardest path, though this encourages replaying the game as much as the high score table. As if that wasn’t enough, if you accumulate enough kills and keep your allies alive, you’ll be awarded a medal. Get a medal on every mission to unlock the harder “Expert” mode and really challenge yourself. There’s also a Versus mode where you compete against friends for points, either working towards a set number of kills or against a time limit, which also allows you to play outside of a vehicle. Beyond that, you can mess about with the title screen, search for warp points, unlock artwork by beating Expert mode, and use the Nintendo Switch Online functionality to create save states.

The Summary:
I’ve played Star Fox 64 before; I never had it on the Nintendo 64, but I downloaded it for the Nintendo Wii and I was even tempted to get the 3DS version. What put me off was my dislike of the original Star Fox, a clunky and ugly game that hasn’t aged well at all. This isn’t true of Star Fox 64, which retains the same charm and appeal as it had all those years ago. The technology has finally caught up with the concept here, providing slick, tight, action-orientated space battles that really bring the idea to life. I loved the presentation of the story, the way the vehicles controlled (Landmaster aiming notwithstanding), and the challenge on offer. It’s a bit cheap to not make it more explicit what you have to do to pick each path but the signs are there, guides exist, and it’s fun replaying and experimenting, especially as missions are altered each time. This means some missions that are quite easy can become much more difficult, your approach to Venom and reaching Andross changes, and you get slightly different endings for your troubles. Yes, constantly rescuing Slippy and the others is annoying but the on-rails action is really fun. There’s also a lot happening and everything runs really smoothly. All-Range Mode was a bit tricky for me, and some missions and boss battles (particularly against the powered-up Star Wolf) had me tearing my hair out at times, but this stress was mitigated by the Switch’s save state feature. I would’ve liked to see a free play mode, the ability to play as the other characters, a co-op mode, and a boss rush implemented but that’s all stuff I’d expect to see in a sequel or remake. As is, Star Fox 64 is the first entry in the franchise I really enjoyed playing. It wasn’t a chore to control or look at, the soundtrack is excellent, blowing up enemies was satisfying, the bosses were huge and engaging, and the game finally brought the characters and the action to life in a way I could enjoy.

My Rating:

Rating: 4 out of 5.

Great Stuff

Are you a fan of Star Fox 64? Do you consider it the best of the classic Star Fox titles? Which vehicle and boss was your favourite? Did you ever best every mission and complete every path? What did you think to All-Range Mode and the branching path system? Do you have any memories of playing this with friends back in the day? Which Star Fox game is your favourite? Whatever your thoughts on Star Fox 64, please share them below and check out my other sci-fi content across the site! 

Mini Game Corner [Sci-Fanuary]: Star Fox 2 (Nintendo Switch)


January celebrates two notable dates in science-fiction history, “National Science Fiction Day” on January 2 and Arthur C. Clarke’s HAL 9000’s birthday on January 12. Accordingly, I’m dedicating January to celebrating sci-fi in all its forms in an event I call “Sci-Fanuary”.


Released: 12 December 2019
Originally Released: 9 September 2017
Developer: Nintendo EAD / Argonaut Software
Also Available For: Super Nintendo Entertainment System (SNES) Classic Edition

A Brief Background:
While working to enter the 16-bit market, Nintendo had a close relationship with Argonaut Software that saw the creation of the ground-breaking “Super FX” chip, which allowed the SNES to process 3D graphics. To best showcase the chip, the two companies took inspiration from the original Star Wars trilogy (Various, 1977 to 1983) and created Star Fox (1993), an arcade-style space shooter that became the fastest-selling videogame in North America. Despite this, and rave reviews, its sequel was unceremoniously cancelled so Nintendo could focus on the more powerful Nintendo 64. Prior to this, Star Fox 2 was reportedly 95% complete. Powered by the Super FX 2, the game boasted improved visuals and a degree of free-roaming gameplay, alongside additional playable characters and even a mech walker form for the Arwing craft. For decades, Star Fox 2 remained an elusive piece of lost media playable only through buggy, illegally leaked ROMS and emulators. However, thanks to Nintendo archiving the title, Star Fox 2 finally saw the light of day when it was included in the line-up of the SNES Classic, resulting in positive reviews that praised the ambitious gameplay and expanded mechanics while criticising its short length.

The Review:
Those reviews were right about one thing: Star Fox 2 certainly is a short game, perhaps even shorter than the first. Because of this, it didn’t seem worthwhile doing one of my usual long, in-depth reviews, though I did play enough of the game to share some thoughts. Fundamentally, Star Fox 2 is very much the same game as its predecessor, but with aspects changed or expanded and mechanics tweaked into something resembling a strange hybrid of an arcade shooter and a real-time strategy (RTS) game. This time around, you can pick which member of the Star Fox team to play as, with two new, never seen again characters tossed into the mix. Not only does each character have their own unique craft, but they have different stats, too, with some being faster, stronger, or taking less time to charge their weapons. You also pick two characters, a lead pilot and a wingman, and can switch between them by pressing – on the main map screen. I believe this allows you to send one character one way and the other in a different direction, and allows two player simultaneous co-op, but the craft simply followed each other in my playthrough. Star Fox 2 also offers four control schemes, with the default settings seeing A brake, B firing your primary blaster, X unleashing a limited supply of special weapons (a smart bomb, a shield, or replenishing your regular shields), and Y letting you boost towards targets. Holding B charges a more powerful shot, but this doesn’t home in on your target so I usually missed unless the target was stationary or flying right at me. Double tapping L or R lets you “barrel roll” out of harm’s way and, when on a planet’s surface, – will transform your Arwing into its mech walker mode.

The expanded dogfight gameplay is joined by odd RTS mechanics and a mech walker mode.

In this state, the controls change slightly. Now, A jumps and L and R are used to awkwardly spin around and your shots do seem to home in on targets. In this mode, you’ll mainly clomp about blasting enemies and stepping on switches to unlock doors, but it’s also the recommended state for destroy the heavily armed energy cores that lie in the centre of Andross’s bases. Another new aspect here is the aforementioned RTS mechanics. When on the map or engaging with Andross’s forces, cruisers, or bases, Corneria is under constant threat of attack. Missiles fire at the planet and Andross rocks up in his Star Destroyer-esque cruiser to fire a devastating shot, so you’ll need to intercept these and even quit out of stages to defend the planet. If Corneria’s damage percentage reaches 100%, it’s game over, which was honestly an aggravating mechanic as it interrupted the gameplay flow. By default, your forced into a first-person cockpit view; you can change this with + but the third-person view isn’t much better. There’s a lot of clutter on the screen, from arrows pointing you towards targets, the mini map, and the heads-up display, none of which can be turned off. You’re not on rails this time so it can be disorientating and difficult to fly about and focus on your target, especially if you don’t invert the controls. You no longer replenish your shield’s defences with rings; instead, you grab energy tanks and medals for a power-up. If you’re destroyed, you can choose to quit or switch to your wingman to carry on, effectively meaning you get two lives per game. There are also three difficulty settings available (though only “Normal” and “Hard” are selectable at the start), with enemy aggression and numbers increasing on harder difficulties.

Take out Star Wolf and Andross’s forces to confront the main man himself.

There’s a degree of chance at work in Star Fox 2. Andross randomly picks which worlds to establish his bases on and places his battle cruisers in different locations each game, eliminating the branching paths of the first game but ensuring no two playthroughs are ever the same. A simple gameplay loop quickly becomes apparent, however. You either intercept missiles to defend Corneria or engage with one of Andross’s cruisers, battling past the defences and flying inside its narrow corridors to destroy the core. This will give Corneria a reprieve, but you’ll only get to confront Andross directly after destroying his planetary bases. To do this, you’ll fly to a planet, open his base with the walker, and then fly or stomp through the same narrow corridors, blasting turrets and insectile craft to destroy the power core. Once you’ve cleared all Andross’s forces, you’ll warp to his main base for the final confrontation. In between this gameplay loop, additional challenges will arise: Andross’s mega powerful laser cannon, for one, or his projectile spitting Mirage Dragon for another. Yet, the bulk of the game’s challenge comes from rival space team Star Wolf. Its members lurk around the planets and asteroid belt and challenge you to a dog fight, a prospect that’s pretty daunting given how fast they are, their capabilities (which match yours), and how hard it is to track targets. Star Wolf himself challenges you right before you head to Andross’s base and these battles are even tougher on “Hard” mode. Andross’s base includes every hazard you’ve overcome so far (narrow hallways, tight corners, turrets, flame walls, and doors) and houses a disturbing Andross cube at its core. Destroying this is child’s play and no different to the other central cores, but you’re ejected into a psychedelic final battle battle against Andorss afterwards. Like before, he encases his cuboid core behind a projectile-spewing mask. You must fire at his eyes to drop his defences and then attack the cube as it spits out rectangular Andross projectiles, a prospect that’s far from challenging compared to the dogfights against Team Star Wolf. Once you’re victorious, you’ll get a rundown of the game’s enemies over the credits, a final score tally, and can challenge the next difficulty level if you like.

The Summary:
Star Fox 2 is a very strange game. Its very nature means you spend more time flying in the void of space or dodging asteroids as you desperately try to destroy missiles or enemy craft, which doesn’t make for the most inspired presentation. Similarly, the battle cruisers and Andross’s base are a mess of grey corridors and bland textures, and things are only slightly better when you’re clomping about on a planet’s surface. The planets themselves are far more restrictive this time, confining you to a small play area where your only objective is to activate switches. The music doesn’t fair much better, being nowhere near as memorable, though the game boast far more cutscenes are more detailed sprite art. The character variety is appreciated, as is the ability to avoid Slippy’s constant cries for help, but the screen is constantly bombarded by text from your wingman or arrows or other mess that clogs up the view. The RTS mechanics were an interesting inclusion; it kind of works to mix up the formula but adds unnecessary pressure to the admittedly shallow gameplay loop. If Corneria was spared danger when you were in a space battle, at least on “Easy” mode, that might’ve helped but, as presented, you’re encouraged to quit mid-mission to defend the planet, which interrupts the action. The polygonal models are as ugly as ever; they seem slightly improved, but they’re still a mess to look at and it makes it difficult to focus at times since the hardware seems to be struggling to bring the game to life. Ultimately, Star Fox 2 is just way too short. It lacks the epic boss battles of its predecessor and the final “choose your own adventure” mechanics and plays very much like an advanced tech demo for a Star Fox RTS spin-off rather than a capable sequel. It doesn’t expand upon what came before (and actually limits you more than you’d expect) and is more a curiosity than anything. It’s a shame as there was definite room for improvement over the original, but it seems the developers got ahead of themselves a bit by being too ambitious for their own good.

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you played Star Fox 2? What did you think to the RTS mechanics? Which character was your go-to? Were you disappointed by the lack of big boss battles? Did you ever go to great lengths to emulate this game back in the day? Which Star Fox game is your favourite? Whatever your thoughts on Star Fox 2, please share them below orand check out my other sci-fi content across the site! 

Game Corner [Sci-Fanuary]: Star Fox (Nintendo Switch)


January celebrates two notable dates in science-fiction history, “National Science Fiction Day” on January 2 and Arthur C. Clarke’s HAL 9000’s birthday on January 12. Accordingly, I’m dedicating all of January to celebrating sci-fi in an event I call “Sci-Fanuary”.


Released: 6 September 2019
Originally Released: 21 February 1993
Developer: Nintendo EAD / Argonaut Software
Also Available For: Super Nintendo Entertainment System (SNES) and the SNES Classic Edition 

The Background:
In the early days of their successful foray into 16-bit gaming, Nintendo worked closely with Argonaut Software. This collaboration gave birth to the “Super FX” chip, a ground-breaking component that allowed the SNES to process 3D graphics and unique visuals. To best showcase the Super FX chip, the two developed the basic concept of Star Fox. Inspired by the original Star Wars trilogy (Various, 1977 to 1983), the game would be an arcade-style space shooter and its main characters were designed by Shigeru Miyamoto, Katsuya Eguchi, and Takaya Imamura, who were influenced by Japanese folklore. Argonaut’s developers were kept separated from Nintendo’s main office due to being outsourced developers. However, Miyamoto frequently checked on the game and helped tweak aspects of its design, though Star Fox was mainly seen as an experiment to see if a 3D game could sell. Still, Nintendo went to a lot of effort to market the game, allegedly sinking $15 million into advertising and even signing off on competitive showcases where players compete for merchandise and cash prizes. The result was a critical and commercial hit; Star Fox topped Japanese sales charts and became the fastest-selling videogame in North America, eventually selling over four million copies by 1998. Reviews gushed about the arcade-style gameplay and pioneering 3D graphics, and the game is fondly remembered as a 16-bit classic despite some notable flaws. While Star Fox may have been a hit and inspired a Nintendo Power comic strip, it didn’t see a port or re-release for nearly twenty-five years and the sequel was famously cancelled. Even the critical acclaim of Star Fox 64/Lylat Wars (Nintendo EAD, 1997) and the franchise’s prominent inclusion in the Super Smash Bros. series (Various, 1999 to 2018) couldn’t stop the series from suffering a decline over the years due to some odd decisions on Nintendo’s part.  

The Plot:
Fox McCloud and his fellow anthropomorphic mercenaries (known as “Star Fox”) are called in by General Pepper of the planet Corneria to pilot the experimental “Arwing” craft against the invading forces of the mad scientist Andross. 

Gameplay and Power-Ups:
Star Fox is a pseudo-3D rail shooter in which players assume the role of Fox McCloud and engage with the armies of Andross, which have invaded the Lylat System and can only be stopped by the firepower of your Arwing and with the assistance of your teammates. The game offers four control styles and you can test these out both in the control selection screen and in the game’s “Training” mode. Personally, I went with control style B as it maps the Arwing’s blaster to the B button but pick whatever you prefer! This setup sees you tapping B to fire; sadly, there’s no rapid fire option and you can’t hold the button to continuously fire or charge up a bigger attack). A fires one of your limited supply of Nova Bombs, using Y to brake and X to boost ahead for as long as your meter lasts, and holding the L or R triggers to fly sideways. You can also tap these, in conjunction with the control stick or directional pad, to “do a barrel roll” and avoid incoming fire. This is a necessity in the game’s later stages and against certain bosses, where incoming fire comes in a barrage and walls and hazards pop out of nowhere. You can also press – to switch between a third-person view and a first-person view from Fox’s cockpit. This latter option is automatically assumed in some of the space-based stages, but I found it too disorientating so I preferred to stick with the default out-of-cockpit camera position. 

Blast across numerous Stages and three different Courses, helping your wingmen as you go.

Although Fox isn’t alone in his campaign against Andross, you’re not allowed to play as anyone but the titular Star Fox, which is a bit of a shame and means the game does not different stats for the different characters, such as stronger defence for Falco Lombardi and a faster speed for Slippy Toad. However, your teammates provide encouragement and backup as you fly through the game’s stages. Often, each will inevitably require your help when they pick up a bogey, requiring you to rescue them in exchange for their gratitude (or admonishment in Falco’s case) and assistance with some firepower. On the flip side, it’s very easy to accidentally tag them with your blasts so check your fire as your final percentage grade will be affected by how healthy your team’s shields are. Also, if you lose a wingman at any point, they’ll be gone for the rest of the game, severely hampering your ability to get 100% completion. Additionally, Star Fox doesn’t use a traditional difficulty system; you pick from three paths (or “Courses”) containing seven Stages each. Some are shared across each path but with minor differences, such as containing different visual effects and bosses, and some lead to hidden areas, but the difficulty of the game depends on which Course you choose, with the top Course being the easiest and the bottom Course being the hardest. “Hard”, however, is somewhat relative. You may be attacked by more enemies, have to deal with more hazards, and encounter different bosses, but you’ll still find extra Nova Bombs, the odd extra life, and various sparkling circles to replenish your shield or alter your blaster fire. 

Things get more hectic and cluttered as you progress, but variety is at a minimum.

Fox’s Arwing is pretty tough and manoeuvrable, but it can only take so much damage. Fortunately, you can use silver and/or gold silver rings to replenish some or all of your shield. There’s also a power-up that temporarily renders you an invincible wireframe model, and upgrades that increase the strength and rate of your firepower. These are worth picking up, but are often placed near closing doors, pistons, columns, buildings, and other hazards, meaning you need to calculate the risk of acquiring them. The Arwing can also be a bit clunky at times; it’s got quite a large hit box and slips about when you roll, meaning it’s easy to crash into things and lose parts of the ship, and you’re not always given enough time to react to incoming hazards. Additionally, there are no other game modes available here and no other mechanics to challenge you. You simply fly along a set path, blast enemies, and defeat a boss, rinse, and repeat. Sometimes you’ll need to boost or avoid pistons, doors, and other crushing hazards; sometimes you’ll automatically fly through a tunnel or navigate tight hallways; and sometimes you’ll have to blast meteors, semi-sentiment columns, and destroy buildings. Ultimately, though, you’re simply flying along and destroying enemies until you reach the find of the stage. 

Presentation:
If there’s one thing Star Fox has going for it, it’s the music and sound design. Hajime Hirasawa brings the energy with some memorable, militaristic, and foreboding tunes that do a fantastic job of engaging you as you blast through Stages. Fox and his allies chatter in an amusing gibberish, but the game does feature English sound bites here and there, which is always impressive on 16-bit hardware. Yet, one of the reasons I’ve never really played Star Fox (beyond being a SEGA kid growing up) was because of the polygonal graphics employed to bring the ships and much of the environments to life. Even as a kid, I remember being unimpressed with these supposedly “ground-breaking” effects and they really haven’t aged very well today. Ships and buildings appear blocky, angular, and amateurish, featuring next to no textures or details, and really clashing against the more traditional sprite work on offer. The game tries to impress with its cinematic opening and shameless borrowings from the original Star Wars trilogy, but the models just don’t hold up and I can’t help but wonder if it would’ve been better to limit the polygonal effects to the bosses. As it is, I found it incredibly difficult to see what was happening when I was playing. As beautiful and varied as many of the environments are, the clash of styles makes it difficult to spot and target enemies (and the lack of an aiming reticule in third-person mode doesn’t help). Many of the hazards (from enemies to incoming missiles and even towers and cuboid blocks) tend to pop in out of nowhere because the SNES hardware is struggling to render the 3D graphics. 

The game’s polygonal graphics and atrocious pop-in effects age and ruin the gameplay.

It’s a shame as the sprite work is really good. The team pop up in animated dialogue boxes to offer hints, encouragement, and admonishment as you play, enemies will sometimes fly at the screen after their crafts are defeated, and the Mode 7 techniques for scaling and rushing across water and grass gives the game an epic scope and makes it fun to swoop around blasting at those awful polygonal ships. Environments are quite varied; you’ll fly through gates and past blocky skyscrapers on Planet Corneria, dodge pixelated asteroids and polygonal missiles in the various asteroid fields, desperately avoid rotating beams and space debris against a backdrop of stars and flaming nebula, and even blast through ice-, lava-, and storm-themed worlds full of mountains, flaming hazards, and rumbling storm clouds. Many times, you’ll automatically enter battleships, facilities, or the core of Andross’s homeward, Venom, where you’ll navigate tight corridors, blast doors, avoid pistons, and destroy power cores to succeed, often with the environment crumbling and exploding around you. However, I did notice a few graphical hiccups here and there. The pop-in is outrageous, one environment didn’t load properly, and the game’s bosses are a mess of crude polygons that can be difficult to battle since their weak points aren’t always immediately clear due to the awful 3D models. 

Enemies and Bosses:
As if Andross having an entire army at his disposal wasn’t bad enough, you’ll also have to watch out for various onscreen hazards. Asteroids, buildings, and cubes will dog your progress, as will spinning obstacles, rectangular plates, collapsing columns, and various debris all rotating or positioned to chip away at your shield. Andross’s forces are an eclectic bunch piloting various ships, from simple cannon fodder, tanks, and blaster turrets to larger walkers, spider-like robots, and co-ordinated attack craft that appear in formations. You’ll shoot down butterfly-like spacecraft, small frog-like ground troops, spheres that wait behind asteroids, blast missiles fired from enemy crafts or the surface of planets, mash L or R to shake off blob-like amoebas that stick to you, slowing your ship and draining your shield in Sector Y, and even encounter strange, mechanical animals such as a manta ray and a bird, the latter of which will warp you to the bizarre “Out of This Dimension” stage where you’ll encounter hostile paper plates! Larger ships can be found in some space Stages. These Star Destroyer-like craft can only be subdued by blasting the hexagonal panels on their sides or disabling their turrets, and you’ll then venture inside to take them out for good and even tackle one head-on in the form of the Great Commander boss. The path you choose at the start of the game determines which bosses you’ll face. Each (with one exception) has a helpful health bar and sports at least one glowing weak spot, and some are shared across the different paths but with altered strategies. Still, your best bet for almost all of them is to conserve your Nova Bombs to make short work of them since your teammates will conveniently abandon you before each battle.  

Each Course has its own bosses, but some are repeated, more aggressive, or plain bonkers.

At the end of Corneria, you’ll battle the Attack Carrier twice and the Destructor once. The Attack Carrier flies overheard to start, so keep low to the ground, opening hatches to unleash enemy fighters or missiles. On Course 2, the enemy fighters also fire missiles instead of lasers, but your strategy remains the same: destroy the hatches to then target the main body, avoiding plasma blasts as you go. The Destructor, fought in Course 3, is far more formidable. It’s a tank-like machine whose top pods split off to reveal bolt-firing turrets that will regenerate until the pods are destroyed. The more of the Destructor you destroy, the more aggressive it becomes, ramming you and firing more missiles from its underside. Finishing the Asteroid Belt will see you battle that Rock Crusher on the top two paths and the Blade Barrier on the lower path. While the Rock Crusher is relatively simple (destroy the hexagonal panels when they open up, avoiding its lasers and body parts as you attack), the Blade Barrier is not only invulnerable to your blasters but they actually bounce off it and can hurt you! It spins around, firing missiles and a web-like tractor beam that you’ll need to shake off with L and R, and can only be damaged after its fins are blown off and even then you have to watch for it smashing into you. Things really deviate on the third Stage; on the easiest Course, you’ll encounter the Atomic Base, which also appears in Sector Z on the lower Course. This is a rotating power core that’s protected by an impenetrable outer casing. You need to destroy the electric power nodes as they rotate around the core to expose its innards, but this is easier said than done due to the odd angle and some dodgy hit detection. 

Once you learn his limitations, final boss Andross offers less challenge than same prior bosses.

The Dancing Insector and Metal Smasher can cause issues, the former due to you being forced to target its legs and its surprisingly powerful flame burst when reduced to a saucer, and the latter since it sucks you in to crush you between its two halves. In comparison, I barely even registered Professor Hanger, a robotic drone that attacks from an overhead path and is easily destroyed, despite summoning fish-like enemies to pop up from the sea below. Star Fox also offers a taste of the surreal: you’ll encounter a giant slot machine that can only be bested by scoring a lucky seven, the unimpressive Spinning Core that spits iron balls at you, and a two-headed dragon/bird hybrid that hops about laying giant explosive eggs and forcing you to blast its head and butt! Yet, the Plasma Hydra is one of the toughest bosses, spinning and flailing tentacles, with its weak spot being at the end of these and it flying at you in a kamikaze run when near death. The Phantron was also a troublesome boss due to its incredible speed and duplication ability forcing you to hit the right double in order to deal damage, but later reappearing and transforming into a larger form with large, triangular “arms” for you to blast at.  No matter which path you choose, you’ll end up battling Andross, an unsightly polygonal head with no health bar and whose only attack is to spit a salvo of tiles at you and try to devour you. You need to destroy each of his eyes to reveal his true form, an erratic cube that must be attacked to win the game but, while Andross can become a malicious devil-like face that also fires plasma balls, he’s a joke once you learn to barrel roll through his attacks and target his weak points. 

Additional Features:
With no multiplayer, no other playable characters, and no native save features, Star Fox is a little light on replay value. Your main reason for replaying the game will be to try a different Course and discover the two secret areas, one of which includes the ridiculous slot machine boss and some unsettling clock faces and the other is a bizarre black hole filled with space debris. Otherwise, your main aim is to hit 100% for every Stage and Course, which requires you and your teammates to survive with as much health as possible. However, the appeal of this is somewhat diminished as there’s no high score system and this data isn’t recorded anywhere. Otherwise, this version of the game has all the quality of life features you’d expect, including save states and rewinds to help you get past the trickier sections, but these are also somewhat weakened by the lack of any unlockable features, like a stage select or boss rush. 

The Summary:
I’ve been hesitant about playing Star Fox for years. Not only was I basically unable to as I never had a SNES, been its Nintendo 64 follow-up largely passed me by despite sitting in the virtual library of my Nintendo Wii. It’s a little odd in some ways as I quite like the concept, which is essentially Star Wars with anthropomorphs. The game is packed full of fun, engaging, action-packed dogfights and big bosses with a fair degree of variety to them, and the environments. However, the biggest selling point of Star Fox are its visuals, which I’m sure impressed many at the time, but which have always appeared dated and cumbersome to me. In practise, the game struggles with its polygonal models, running at a slow pace and offering little gameplay variety. The visual clash between traditional sprites and 3D polygons also makes the game very messy at times. The music, characters, and the world are appealing, but not enough to make me consider this an under-appreciated 16-bit gem. Ultimately, while it’s good for a quick playthrough, Star Fox quickly becomes repetitive even with the multiple paths and the visuals just didn’t impress me enough to want to pick it up once I’d seen everything it had (which basically happens in one playthrough). A SNES classic, maybe, but one that hasn’t stood the test of time for me and was surpassed by its sequels. 

My Rating:

Rating: 2 out of 5.

Could Be Better

Have I ruined your childhood with my opinions on Star Fox? Were you impressed with the game at the time, and how do you think it holds up today? Which Course was your favourite to playthrough? Were you disappointed that you couldn’t play as the other characters, and did it annoy you having to save them all the time? What did you think to the bosses and the polygonal models? Which game in the Star Fox franchise is your favourite and would you like to see a new one? Whatever your thoughts on Star Fox, feel free to leave them below and check out my other sci-fi content across the site! 

Mini Game Corner [DK Day]: Donkey Kong 3 (Nintendo Switch)


In July 1981, Shigeru Miyamoto and his team at Nintendo R&D1 created Donkey Kong, an arcade title that was not only one of the earliest examples of the platform genre but also introduced gamers everywhere to two of Nintendo’s most recognisable characters: Mario and Donkey Kong. Mario, of course, shot to super stardom but July’s a good excuse to celebrate everyone’s favourite King Kong knock-off.


Released: 5 April 2019
Originally Released: 28 September 1983
Developer: Nintendo R&D2
Also Available For: Arcade, Family Computer Disk System (Famicom), Game & Watch, Game Boy Advance, Nintendo 3DS (Virtual Console), Nintendo Entertainment System (NES), Nintendo Wii, Nintendo Wii U (Virtual Console)

A Brief Background:
At the start of the eighties, Nintendo had run into some issues when their plan to expand into North America with Radar Scope (Nintendo R&D2/Ikegami Tsushinki, 1980) failed. Nintendo’s then-president Hiroshi Yamauchi thus tasked young designer Shigeru Miyamoto with creating a new arcade cabinet to get the company back on track. When his plan to base it on popular comic strip character Popeye fell apart, Miyamoto took inspiration from Beauty and the Beast (Barbot de Villeneuve, 1740) and King Kong (Cooper and Schoedsack, 1933) to create Donkey Kong (Nintendo R&D1/Ikegami Tsushinki, 1981). A financial and critical success that introduced players to “Jumpman” (now known as Nintendo’s mascot, Super Mario), Donkey Kong was followed by the equally successful (if obscure) Donkey Kong Jr. (Nintendo R&D2, 1982) the very next year. Based on this success, Donkey Kong 3 came the year after that, with the gameplay significantly altered; even Mario was gone, in favour of bug exterminator Stanley. Although allegedly successful in Japan, the videogame crash of 1983 stunted its release in North America and, while somewhat praised upon release, it hasn’t stood the test of time and effectively killed the franchise until the 16-bit era of gaming rolled around.

The Review:
Donkey Kong 3 deviates wildly from its predecessors in a few ways; first, Mario is strangely absent, replaced by Stanley the Exterminator and, secondly, it’s now a 2D shooter-type game not unlike Space Invaders (Taito, 1978) or Galaga (Namco, 1981). Secondly, Donkey Kong is now a central antagonistic figure, appearing in the vines atop each screen (or “Round”) and shaking beehives to spawn enemies that swoop in and take away your flowers (and your lives). Thirdly, the game has a traditional timer; you have a limited amount of time to fend off the enemies and Donkey Kong himself before you lose a life, but you also have to keep the pressure on Donkey Kong with your bug spray or else he’ll come crashing down and cost you a life. Once again, you can pick between two one-player games and two two-player games, with “Game B” offering a greater challenge, though the controls are a little more versatile. You fire your bug spray with A or B (sadly, there’s no auto- or continuous fire option), jump by pressing up on the control stick and drop down a level with down. Falling won’t cost you a life but Stanley is hard-pressed to jump over enemies; instead, you must drop down and move about to get underneath them and spray them. Very rarely (literally once per life), you’ll be able to make use of a super bug spray power-up that’ll make fending off Donkey Kong and defeating enemies much easier; this even carries over between Rounds, but its effects wear off after a few seconds. As before, defeating enemies awards you points; if you clear a Round with all flowers intact, you’ll get a point bonus, with an extra life being awarded for every 50,000 points you earn, though there’s still no high score table, so it’s all about maintaining the top score at the top of the screen.

Blast at bugs and a looming Donkey Kong with your bug spray to keep your flowers safe.

Donkey Kong 3 also deviates from its predecessors by sporting two screens that repeat in a perpetual loop until you lose all your lives or get bored and quit, though they are made a little more varied in the colour palettes changing, the platforms being trickier, and the number of enemies increasing as the loops recycle. The first Round is in the forest and sees you hopping up stone platforms to fend off Donkey Kong, and the second Round is in the treetops and sports vines that annoying worms crawl across to block your shots. Once you’ve played both screens, you’ve basically seen everything Donkey Kong 3 has to offer, and you can even clear Rounds in a couple of seconds if you’re quick enough. Sure, faster, more aggressive enemies appear later, darting at you or sending out stingers, and Donkey Kong will toss coconuts at you, and the trees might be red or green, but there’s even less visual variety here than in the last two games. Stanley doesn’t make as much of an impression as Mario and I found myself easily losing him against the stone platforms. His bug spray is weak and incredibly limited, he can’t jump over enemies, and there’s often so much onscreen that you’re guaranteed to lose a flower, if not a life. Although the music also isn’t all that much to shout about, being on the same level as the previous games, Donkey Kong is now a large, detailed, and animated sprite; he’s mischievous and daunting, grinning at you and always edging closer. Though there’s no true final showdown or end to the game, you can force him up the vines and trap his big, stupid head in a beehive, which I counted as a victory. As ever, you can use save states and rewind the game to address any mistakes, but it can be tricky to figure out your attack strategy as, unlike in the last two games, pausing the game inexplicably covers the in-game action with a black screen.

The Summary:  
I, like I suspect a lot of people, was not very familiar with Donkey Kong 3 before heading into it. In fact, I’m not sure I’d ever even seen a screenshot of it, let alone really knew it existed, and I have to say that it really isn’t worth your time. It borrows more elements from other games than it innovates and lacks even the mild appeal of Donkey Kong Jr. since Mario is entirely absent. It’s nice to see Donkey Kong back as a big, foreboding antagonist and there was some fun to be had in blasting him up the ass with bug spray, but that’s about where my praise ends. Even compared to the last two games, Donkey Kong 3 wears out its welcome pretty quickly; there’s just not enough variety to hold my attention and very little incentive to keep playing without a high score table. I liked that the palette changed as you progress, but the lack of visual variety really hurts the game. The enemies are little more than uninspired and annoying bugs, too, and the lack of other power-ups and mechanics just makes this a bland and forgettable title. It seems like Nintendo were trying to milk Donkey Kong a little too hard back in the day, including similar gameplay mechanics but adding one or two tweaks to try and keep things fresh, but I wonder if simply expanding on Donkey Kong, adding new mechanics and stages and such like in the Game Boy release, wouldn’t have been a better idea than releasing dull titles like this. These days, Donkey Kong 3 is all-but forgotten, and with good reason; just play the original or the 16-bit titles if you’re itching for some nostalgic ape action and leave this one in the dirt where it belongs.

My Rating:

Rating: 1 out of 5.

Terrible

Was Donkey Kong 3 in your NES library back in the day? How do you think it compares to the last two games? What did you think to Stanley and the new shooting mechanics? How far did you get in the game before you failed or quit? Which Donkey Kong videogame is your favourite and why? How are you celebrating Donkey Kong’s anniversary this year? Whatever your thoughts on Donkey Kong, feel free to leave a comment below or on my social media, and check out my other Donkey Kong content on the site.

Mini Game Corner: Donkey Kong Jr. (Nintendo Switch)

Released: 21 December 2018
Originally Released: 30 June 1982
Developer: Nintendo R&D2
Also Available For: Arcade, Atari, BBC Micro, Coleco Adam, ColecoVision, Family Computer Disk System (Famicom), Intellivision, GameCube (via Animal Crossing (Nintendo EAD, 2001)), Nintendo 3DS (Virtual Console), Nintendo Entertainment System (NES), Nintendo Wii, Nintendo Wii U (Virtual Console)

A Brief Background:
In early 1980, Nintendo were in a spot of bother; their plans to expand into North America with Radar Scope (Nintendo R&D2/Ikegami Tsushinki, 1980) had failed, so then-president Hiroshi Yamauchi tasked young designer Shigeru Miyamoto to create a new arcade cabinet to turn things around. After plans to adapt popular comic strip character Popeye fell apart, Miyamoto took inspiration from Beauty and the Beast (Barbot de Villeneuve, 1740) and King Kong (Cooper and Schoedsack, 1933) to create Donkey Kong (Nintendo R&D1/Ikegami Tsushinki, 1981), a financial and critical success that introduced players to “Jumpman”, who would go on to become Nintendo’s mascot, Super Mario. During Donkey Kong’s development, many of the team’s concepts had to be cut due to time and hardware constraints. As they worked to develop these further, and given Donkey Kong’s success, the team developed a follow-up title that was initially planned to star the cantankerous ape himself before a smaller, more manageable substitute was created. Although Donkey Kong Jr. is now one of Nintendo’s more obscure characters, having largely been supplanted in the 16-bit era, Donkey Kong Jr. was very successful in its native Japan. Reviews praised the colourful presentation and gameplay loop and the game became very popular in the competitive play arena.

The Review:
Donkey Kong Jr. is, essentially, more of the same game as its predecessor. Like Donkey Kong, players can pick from four game modes: two single-player options and two two-player options, with “Game B” being the more difficult of the two as it includes more onscreen enemies. Regardless of which mode you pick, Donkey Kong Jr. utilises the same simplistic control scheme as before, with A being the only button you need to press to jump over enemies, to vines, and across platforms. Donkey Kong Jr. has the rare distinction of being perhaps the only Mario-adjacent videogame where the portly plumber is an antagonist. Players now control the titular Donkey Kong Jr., a stout baby ape who slowly clambers up vines, quickly slides down them, and whose only method of attacking the many critters Mario sends out to obstruct him is to touch various fruits high up on vines; these will then fall, destroying any enemies beneath them. While Donkey Kong Jr. is a far more complex-looking sprite, with a humorous and over the top death animation and being slightly more animated overall, he’s no less clunky and actually less useful than Mario was in the last game as his hit box is bigger and he doesn’t get a hammer power-up. There is a spring on one screen, but it’s just as likely to send you plummeting to your death as it is to the next platform, so you’ll need to carefully time your jumps to avoid enemies and snag some points. But don’t take too long; like in Donkey Kong, the longer you take, the lower your bonus score will be upon completing a screen, which in turn impacts your high score. While you don’t seem to earn extra lives by accumulating points and there’s no high score table to display your best score, it is displayed at the top of the screen and is the only goal available to work towards so you may be somewhat protective of this.

Junior must clamber up vines, jump over hazards, and use keys to rescue his dad from Mario.

Donkey Kong Jr. is comprised of four screens that repeat in a nigh-never-ending loop until you finally die, with the enemies increasing in number and aggression the more you play. In three screens, your goal is to reach the top, acquire a key, and scare off Mario, and this culminates in a final showdown where you need to take down the devious plumber and rescue your kidnapped father. In the first screen, you simply navigate between vines being careful not to fall in the static water below or even drop a short distance as both will instantly kill you. In the second screen, you’ll bounce on the spring to smaller moving platforms and use a pulley to cross a gap and, in the third screen, you’ll hop over electrical hazards that erratically move back and forth across the platforms. Finally, you’ll climb up six chains, pushing six keys up to a bridge and avoiding bees and little alligators. Once you’ve pushed all six up to the top, the bridge is destroyed, Mario is defeated, and Donkey Kong is rescued and it all begins again until you either lose all your lives or quit from boredom. Although the game lacks the iconic music of its predecessor, each screen has some fun little jingles and sound effects but nothing especially innovative. Donkey Kong and his son are the most colourful and visually interesting sprites, with Mario only impressing due to him wielding a whip this time around, and the enemies are simply snapping alligators, egg-dropping birds, and electrical bolts. Naturally, this version allows you to create save states and rewind the game if you make a mistake, effectively destroying any difficulty curve it might’ve had and reducing the average playtime to around ten minutes.

The Summary:  
Donkey Kong Jr. reeks of cheap, money-grabbing desperation. Donkey Kong was an innovative and popular arcade release and it’s obvious that Nintendo simply wanted to capitalise on that with a “new title”, but there’s very little new about this game. Sure, moving to vines is different and having to time fruit-grabbing to defeat enemies adds a little more strategy and I quite liked the final showdown with the keys on the chains, but the gameplay experience is largely the same and lacks a lot of the nostalgia and charm of its predecessor as the setting is so weird. Even now, it’s bizarre seeing Mario as a whip-cracking antagonist. Donkey Kong Jr. has a lot of visual appeal, but I wonder if this game might’ve been better if Junior actively chased Mario across the stages? Or if a two-player mode saw one player as Junior and the other as Mario trying to intercept him? I feel like Nintendo could’ve bundled these two games together into one experience at the time, creating an eight-screen loop where you first track down and capture Donkey Kong and then switch to Junior to rescue him, but, as is, I can’t see myself choosing to play Donkey Kong Jr. over its more popular and nostalgic predecessor.

My Rating:

Rating: 2 out of 5.

Could Be Better

Did you ever own Donkey Kong Jr. for the NES back in the day, or play the arcade version out in the wild? How do you think it compares to Donkey Kong? What did you think to Junior and seeing Mario as an antagonist? How far did you get in the game before you failed or quit? Which Donkey Kong videogame is your favourite and why? How are you celebrating Donkey Kong’s anniversary this year? Whatever your thoughts on Donkey Kong, feel free to leave a comment below or on my social media, and check out my other Donkey Kong (and Mario) content on the site.