When: 9 p.m. EST, Thursday, September 30th

What: Halo Reach

Where: Xbox Live

Why:  Because there’s a few flags that need to be captured. Also, Slayer.

RSVP here.

When: 9 p.m. EST, Thursday, September 30th

What: Halo Reach

Where: Xbox Live

Why: Because a triple kill is three times as fun when it’s Tom, Justin and Tony.

RSVP here.

Call me crazy, but I think this more effectively sells me on the Wii than it does on the Kinect.

Speaking anecdotally, I haven’t talked to any non-gaming friends who were aware of Kinect or any of its software. They took notice when the Wii launched, and they’re usually on board for a Rock Band party, but I know for a fact that none of these fine folks could tell you what a Kinectimal is. Sadly, polling numbers suggest that this isn’t isolated to the Justin circle, either. But I’m not bringing this up as purely gloom and doom. As Kaz and I both stated on the podcast, we both intend to purchase Kinect at launch and want nothing but the best for the device.* Rather, there needs to a be a shift in the perception going forward that this is more than just a Wii Sports/Fit clone in a pricier sell. How does Microsoft make that happen? Read on.

*Keep in mind that I’m writing under the generous perception that Kinect’s technology works as advertised and that all of the key games live up to expectations. If everything isn’t up to par, then even the most drastic steps won’t save Kinect.

1. Move the Spotlight – Right now, Microsoft seems determined to push its first party stuff just as much as it does Dance Central and Child of Eden. This is a mistake. Never mind the fact that Kinect Adventures could outclass Wii Play (potentially), there are always going to be inherent similarities that make the newcomer look like more of the same. With Dance Central, the advantages to Harmonix’s full-body dance routine are easy to digest, and while most pundits suggest that Child of Eden is one for the “hardcore,” the game’s celestial beauty holds wider appeal than that. Basically, push the new instead of what looks like the old.
2. No Red Lights – I don’t think it’s an understatement when I say that the Red Ring of Death fiasco was Microsoft’s worst PR blunder since entering the gaming market. People still joke about it, but its also the source of bitter feelings and lost customers. Don’t let this happen twice. Double-check that hardware, and make sure it works as advertised. (This included being able to play from the couch when warranted!)
3. Demos EVERYWHERE – If people only learned about the Wii through television commercials and print ads, it would not have become the phenomenon that it is today. Word of mouth and hands-on waggling were what got new gamers to pony up for Wii Sports. As of now, there are supposedly a few Kinects hiding in Macy’s, but if Microsoft really wants this to take off, it needs to send hardware to every Best Buy, GameStop, Walmart and Target nationwide. Kids and parents need to be dancing in the store aisles, pronto.
4. Advertise EVERYWHERE – At the same time, Microsoft can’t be stingy with the advertisement budget. Sporting events are a good start, but what about daytime TV? Movie theaters? Streaming video sites? Bringing in a new audience means putting yourself out there.
5. Open Up to Indies -So far, downloadable titles have been left out of the grand plan, and I couldn’t begin to fathom why. If developers want to release side projects that take advantage of motion control, why should their ambitions be curbed? For many, games like Limbo and Shank end up higher on the priority list than big budget titles, so perhaps Microsoft should open up the controller for the little guy. Hell, bring in the Indie Games program, too. You might accidentally lure in some hardcore players while you’re at it!
6. Promises for the Future - This point is perhaps the most crucial. When friends ask me whether they should go with Move or Kinect, I typically tell them that I think Move is the safer bet. Not because I think the games will necessarily be better – I’m interested in exactly two games for Kinect and zero for the Move, personally – but because Sony’s promised quite a bit for the future. Some of its biggest Move games are slated for next year, while many games that have already been released are also being retrofitted with motion support. With Kinect, do we have any idea what’s coming out after launch? As far as I know, we have Milo and a vague set of options for Forza. That’s not reassuring for the customer putting down $150.

Nobody said launching a new platform would be cheap, but any of these steps could help make Kinect a winner this holiday. The price tag is absolutely steep, but it’s not insurmountable, and people still like the tech even if the E3 lineup seemed lackluster. We’ll see in November if Microsoft’s willing to dig deep; as an early adopter, I’m crossing my fingers.

Oh yeah…I’d avoid bringing this guy stateside, too:

When: 9 p.m. EST, August 5th

What: Castlevania: Harmony of Despair

Where: Xbox Live

Why: Because miserable little piles of secrets need to stick together!

RSVP here

The shows at the Brick Theater included “Kewl-Aid Man in Second Life,” a guided tour of the virtual world starring the famous pitcher monster; “A Short Lecture of a Different Time,”a history lesson told through 8-bit graphics; and “Theater of the Arcade,” which took several simple game narratives and adapted them for the stage. I attended “Grand Theft Ovid” and “Modal Kombat,” both of which I’ll discuss after the jump. The $15 ticket price is a bit steep for amateur theater, but I think the show could develop into something special in a few years time. Be sure to at least keep your eyes peeled next year if you’re a fellow Brooklynite.

Grand Theft Ovid

This student project was a live machinima featuring graphics from World of Warcraft, Grand Theft Auto IV and even Guitar Hero III. Director Eddie Kim and his fellow students acted out pre-recorded dialogue with in-game characters, telling stories from Metamorphoses with a heavy dose of humor. Because these kids were manipulating characters in real-time, the results were much less polished than say, “Red vs. Blue,” but I appreciated seeing so many different game genres pulled together to tell cohesive stories. For instance, in the story of “Daedalus and Icarus,” the latter’s wings were constructed of guard towers in Warcraft 3 and his flight (and fall) were captured in a GTA IV parachute drop. Another highlight was “Apollo and Daphne,” in which the kids invited fellow World of Warcraft players to participate in the live play. The results were about as hilarious as you’d expect.

Modal Kombat

Again, this show was a little rough, but the clever concepts made up for the shortcomings in the execution. In “Modal Kombat,” David Hindman and Evan Drummond turned their acoustic guitars into video game controllers. The games were modded to respond to certain pitches (as far as I can tell) with a supplementary foot pedal in some instances. In Pong, upward and downward slides moved the paddles accordingly, while in Mortal Kombat, the two used both staccato and sustained notes to create a violent “ballet.” At its best, the examples on hand showed how visuals, music and interactivity could be combined for a sensory experience akin to a poor man’s Rez. Attendance was a bit too sparse to get much audience participation, but I’d love to see these guys and others continue to improve upon the ideas.

Nelson is a puzzle-solving superstar.  He is sent to the strange town of Scoggins to investigate an accident at an eraser factory that has affected the White House’s supply. The hand of previous LucasArts employees is clearly evident with such a preposterous mission given to the player, but it sets up some of the cleverest writing and animation I’ve seen in a game in a while. Creative director Graham Annable employs the same wit and style found in his Grickle animations to great effect, given this nearly impossible setup.

What stands out the most in the game is the amazing comic timing found in the cut-scenes between puzzles. The animation in the game has an unusually low frame rate (which worried me that something was amiss with my PC), but the long pauses caused by holding a single image still across several frames made me laugh due to the sheer awkwardness. In this way, the game’s story is equal parts “Twin Peaks” suspense, “Fargo” Midwest humor and “The Office”-like uncomfortable pauses.

It is directly because the story is told so well that I wish the puzzling gameplay lived up to that high mark. Unfortunately, the puzzles rarely feel as engaging or genuinely challenging as those found in the Layton series. Often, the puzzles themselves fit into the physical actions they mean to replace, but sometimes they feel arbitrary. You’ll either breeze through them or find yourself spending lots of gum – the pre-chewed fuel for Tether’s puzzle solving prowess – to get anywhere with them.

The player’s ability to solve these puzzles directly relates to the overall time that they’ll spend with Puzzle Agent. This was about 3.5 hours in my case, but your mileage may vary. Based on the price of entry, this doesn’t seem too steep and the strengths of the story, animation and atmosphere in the game mean that anyone with an interest in seeing more logic-puzzle-based adventure games should rush to download this title.

Full disclosure: I am so desperate to see where the story of Scoggins goes after the “ending” in this game that I’m partially recommending a purchase in an effort to assure a sequel is made.

While Braid may deal in time trickery and P.B. Winterbottom specializes in cloning, this latest puzzle platformer’s biggest selling point is melancholy. LIMBO of course has a few mechanical hooks along the way, but its shadowy look and haunting atmosphere set this apart from almost any other game I can think of, downloadable or otherwise. The swinging traps and whirring saw blades are familiar; the quiet boat ride in between is not.

Rarely have I seen visuals and game interaction complement each other so well. LIMBO‘s film-grain filter not only evokes memories of the silent-film era, but it also creates a dream-like, surrealist feel that demands the player to fill in the blanks. Hidden areas off the beaten path are shrouded in blackness, and the silhouettes of the more industrialized sections also lend to the mystery. The depth of the background doesn’t necessarily change the gameplay either, but the world fills much richer because of those well-placed extra trees and buildings.

Early on, the promise of these visuals is fulfilled in a set-piece involving a giant spider. The beast is able to skulk around in the shadows, stalking the seemingly helpless boy and capable of striking at any second. While the game has a much larger story to tell, this spider has his own arc that is perfectly realized, too. Though I would hate to spoil this sequence, you’ll likely have some sympathy – or at least respect – for it by the time you’re ready to move on. (I’d go so far as to say that the game peaks early with this spider chase, but LIMBO frequently comes close to topping it in the second half.)

This takes up roughly a third of the short quest, which will require plenty of block pushing and lever pulling to complete. Unlike most side-scrolling heroes, the nameless boy has no offensive capabilities to speak of, and therefore he must best utilize the environment to protect himself. LIMBO‘s environmental puzzles are also a major draw. Developer Playdead cribs from the genre’s best, from Flashback to VVVVVV. Though the game doesn’t have a single, mind-blowing conceit like some of its peers, the puzzles are all well-constructed, take advantage of the convincing physics engine and are reasonably challenging (as long as you’re prepared for dozens of trial-and-error deaths.)

That said, I would urge any prospective player to go it alone. Though it may be tempting to have your friend on the couch help you through a stumper, LIMBO‘s atmosphere requires minimal background noise for the optimal effect. If you let it, the game can be an intensely personal experience.

A couple years ago when Braid was released, I loved the experience but couldn’t help thinking that relying on so much text to tell its story was a cop-out. LIMBO does not take such shortcuts. In the end, no grand mysteries are solved and no worlds are saved, but this somber game’s conclusion is incredibly satisfying nevertheless. Years from now, we’ll be referencing LIMBO‘s shrouded dream-scape as one of the ultimate examples of how less can be more.

Relevant Links:

Kris Graft’s “Why Was Blizzard’s ‘Real ID’ Such an Issue?”

Bob Mackey’s “Found in Translation”

Tom Bissell’s “The Grammar of Fun”

 Though the Toriyama art and turn-based battles might suggest another traditional outing, IX‘s multiplayer emphasis is a significant departure. Not only does the game feature four-player cooperative dungeon crawling, but there’s also a tag mode that automatically shares data and treasure maps with other players. This mode is inconveniently tucked away in a specific inn, but the potential benefits are huge. However, we’re all well aware that American gamers just aren’t geared to this kind of play, so too bad, right?

Or at least that’s the standard line. I, for one, am going to try a little experiment for the next month. During my daily commutes throughout New York City, I’m going to “canvas” for like-minded DQIX players in the hopes that we can become accidental buddies. I suggest that everyone reading this should do the same. Let’s keep our minds open and check back in 30 days.

This was apparent from the very first chapter. After a stirring assault along the Cocoon highway, we are introduced to some of the thinnest characters I’ve seen in a modern RPG. Sazh just wants to get his son back,* Hope wants to avenge his mother, Lightning and Snow want to help Serah and Vanille just wants to annoy the hell out of me. I kept hoping for more character development, but most of the cast remained paper-thin. Only Vanille (yeah…) and Fang ever received some kind of pathos.

*”Waaaalt!”

These broad archetypes would not necessarily be problems on their own.  After all, VI is fondly remembered for its huge roster, but good luck remembering why Umaro needed to take down Kefka. However, it’s never really clear why these characters need each other in the first place. Why was Sazh tagging along with Lightning in the opening assault? Why does Vanille tag along with Hope? Would Sazh really be so quick to forgive Vanille after her betrayal was revealed. Eventually, some of the answers to these questions are made clear, but these characters seem to basically stumble into each others lives with no rhyme or reason. Too often it feels like these connections are explained more in the in-game encyclopedia or loading screen recaps than in the main game.

After adjusting expectations in the first couple chapters, I eventually warmed to the game. You may even remember hearing me offer the game a few kind words every now and then. As someone with limited time for RPGs, I really appreciated the linear design and meaningful battles sprinkled throughout. But if my tone here sounds unusually harsh, that may be because I was under the impression that the game was going somewhere. The story was moving at a decent pace, the battles were requiring more strategy and there was no shortage of pretty stuff to look at. However, I then arrived in Gran Pulse, and I discovered that the Final Fantasy XIII final destination was a grind-intensive hell.

Oh, Gran Pulse. At one point, you were the promised land, the expansive valley that would deliver all of the quests and exploration a l’Cie could ask for. It’s just too bad that you had to torpedo whatever story the game had left to tell in the process. Like FFXII – a personal favorite – Gran Pulse was comprised of several open areas full of monsters and special hunts, but the former game had towns, a wide variety of species and an actual sense of purpose. For a land with such a troubled and tragic history as Gran Pulse, our heroes really didn’t have much to say about it. Even when they get to Oerba Village, where a few key players were raised, none of the characters felt the need to reminisce.

About 10 hours and lots of palette-swapped enemies later, FFXIII comes to an epic conclusion, but the stuff that came before it was so meandering that the final threats are rendered completely trivial. The ending provides the trademark eye-candy, but it couldn’t hope to satisfy after all of the filler that proceeded.

I do feel a little bad for beating up on Final Fantasy XIII. Maybe it sounds funny to label this hugely expensive game an underdog, but as Nick pointed out a couple months back, gamers are quick to dismiss it because Japanese RPGs are no longer in vogue. Despite all its faults, FFXIII‘s attempted streamlining of that formula is something we haven’t seen before. For that reason alone, I’d like to think of this entry as a noble experiment. It’s failure in the end, but considering that Final Fantasy is a long line of experiments, I don’t think we need to worry about the series’ future. I just hope that a single player FFXV doesn’t take another five years to show up!

If you own ModNation Racers, look out for this beauty from “GinormousJ.” Even with its steep hills and roaming donkey herd, it’s relatively easy, but fans of Baby Park might appreciate the quick challenge. Be on the look out for other official tracks from the crew. Sadly, we can’t take credit for the Noid, though. See you at the starting line!

I know I’m not the only one who found himself a bit dazed amidst the constant noise of gunfire, headshots and sword slicing present at this year’s E3. Perhaps I echo Justin Hemenway and Jeremy Parish’s thoughts when I walked away from the show slightly turned off at our not-so-magic-bullet theory of how to problem-solve and entertain in our medium - bigger guns, heightened realism and blood-splattered violence just aren’t doing it for me.

Where are my games that use more than 15 shades of grey, green and brown? The games with thought-provoking ideas, that feature some genuinely interesting characters and don’t leave me feeling either cold-blooded or (sorry, Nintendo) somewhat childish? It was with a huge sensation of relief then, that I was able to see more of Ignition Entertainment’s El Shaddai: Ascension of the Metatron. Although it wasn’t prominently featured in any one big press event, the more I learn about this surreal, pseudo-religious adventure, the more intrigued I become - it’s playing to almost every strength of the Japanese development scene, and doing so in a very unique way.

The colors, Duke, the colors!

The first and probably most striking aspect of El Shaddai is its look. If you couldn’t tell by the above screenshot, El Shaddai is playing in its own league - a dreamlike swirl of light pastels infuses both the characters and environments, and from what we’ve seen thus far, completely eschews anything remotely “gritty” or “realistic.”

Artistic comparisons that bring to mind the “living painting” art style found throughout Clover Studios’ Okami would also be well justified - Takeyasu Sawaki, Art Director for the acclaimed, mythological fan-favorite returns to form here to provide his own interpretation of a biblical, heavenly environment. In stark comparison to Okami however, nothing resembling a bold or defining black outline seems to be present - a switch from the Japanese Ukiyo-e woodblock print to more of an impressionist painting style.

And what more appropriate art-style to incorporate into a surreal, religion-fueled game than Impressionism? With its core components being visible brush strokes, an emphasis on light in its changing qualities (often accentuating the effects of the passage of time), the inclusion of movement as a crucial element of human perception and experience and unusual visual angles, it’s as if the art-style was conceived with the action genre in mind. Take a look at this trailer and pay attention to the swirling colors, changing light and varied visual angles - if Monet were around to play video games, I’m pretty sure he’d be proud.

Jesus Bleibet Meine Freude

In terms of story, it’s safe to say we’re in for an interesting ride. Those not familiar with anime such as “Neon Genesis Evangelion” or “RahXephon” or games like Devil May Cry and Bayonetta might not realize the fascination that the Japanese media has with Christianity and Biblical tales in general. Although these types of stories always seem to carry a few key elements in common - powerful angels, violent battles, fights against God - the liberties and interpretations of characters, events, and themes (particularly of the apocalyptic variety) generally provide a smorgasbord of food for thought. Understanding a bit of the inspiration here, I’d be shocked if El Shaddai proved differently.

The title itself, “El Shaddai,” is one of several Judaic names for God, and roughly translates to “God Almighty.” Interestingly, the root word “shadad” means to “destroy or overpower,” giving the title a more literal meaning of “The Destroyer,” which in itself is an epithet for God. One can see how this falls in line with Ignition’s story in El Shaddai, which finds the protagonist, Enoch, trying to collect the souls of seven fallen angels in order to prevent a flood from destroying mankind.

The story of Enoch is also very interesting in its own right - he’s widely regarded to be a direct descendant of Adam, father of Methuselah and great grandfather of Noah, although the scripture in which he is referred to, the “Book of Enoch” (of which there are actually three books, all surviving in radically different languages) is considered non-canonical in all but the Ethiopian Orthodox Church. Although interpretations all vary, several different tales of Enoch exist, including his direct interaction with all four archangels (Michael, Raphael, Gabriel and Uriel), his extremely long age (over 360 years) and perhaps most importantly, his ascension into heaven and transformation into the angel Metatron - the celestial scribe and voice of God.*

This Enoch, whose flesh was turned to flame, his veins to fire, his eye-lashes to flashes of lightning, his eye-balls to flaming torches, and whom God placed on a throne next to the throne of glory, received after this heavenly transformation the name Metatron. [Gershom G. Scholem, Major Trends in Jewish Mysticism (1941/1961) p. 67. Extract of 3 Enoch.]

In stark contrast to some other characters in Christianity-themed games, Enoch’s story is (and always has been) very conducive to interpretation, and I can’t wait to see how his journey unfolds through a Japanese lens.

The boys are back in town

But what good is an ambitious project without the right skills to back it up? Perhaps one of the most promising aspects of El Shaddai is the strong development team behind it. Despite the fact that El Shaddai is Ignition’s first major independently developed game, it’s amassed quite an impressive list of talent to help it stand out from the crowd. At the top of that list is the aforementioned Takeyasu Sawaki, Director and Character Designer on the title, and his former Clover co-worker Masato Kimura, Producer, who’s contributed to Devil May Cry, Okami and Viewtiful Joe. With Ignition’s Shane Bettenhausen stating that we might see a Monster Hunter composer on the game as well (perhaps Masato Kouda, composer for Devil May Cry and Wild Arms), it sounds like development experience won’t be a cause for concern.

Let us also not forget the bit of cultural pioneering that Ignition Entertainment has recently accomplished by bringing us some truly unique Japanese titles over the past year or so, including Vanillaware’s Muramasa: The Demon Blade, and Marvelous Entertainment’s now cult-classic, Deadly Premonition. At the very least, we can be assured that we’re in for a very original tale, and with the developer’s pedigree beginning to stack up quite nicely, all signs are pointing to good things.

Bruises over blood

The very last piece of El Shaddai that really stands out is the presentation of its combat. From what has been seen and told thus far, it seems that the emphasis in combat is on defense – Enoch must disarm his opponents and use their weapons against them, while only being able to wield one weapon at a time. Although only one weapon has been seen thus far - a bow-shaped blade - it looks as if we’ll be treated to some unique pieces of artillery, and not your standard sword, shotgun and pistol.

More impressive however, is the fact that despite the fights that occur between Enoch and his opponents, there’s almost a de-emphasis on the over-the-top, blood-spurting, violent extremism, as found in almost every other shooter or 3D action title over the past few years. Although religious themes aren’t exactly new to the action genre (see Bayonetta, Devil May Cry and Dante’s Inferno), it’s refreshing to have a new contender attempt to pull off something that may prove much more difficult to accomplish - restraint. While Bayonetta and Dante’s Inferno may have been relegated to “play when alone” status out of their respective sexual and violent themes, I wouldn’t hesitate to play a game like El Shaddai with family, friends or strangers looking on - not only would the visuals prove to be inoffensive (and better yet, beautiful), but the story would provide an interesting topic for conversation. Everybody wins.

Keep your eye on the angel…

Although we still have seen relatively little, El Shaddai is showing a lot of promise. It’s visually striking, has a very original inspiration and story, a solid team developing it and looks to be avoiding the easier, over-violent road that its peers have been sprinting toward. While it’s still much too early to tell whether or not this could be the next Okami, Ignition has sowed the seeds for what could be a truly unique, thought-provoking experience. And while I’ll have to await its arrival until some point next year, I’ll do so with baited breath - this is exactly the type of game I’ve been waiting for to come out of Japan, and it looks pretty heavenly.

*Alan Rickman, eat your heart out.

Why bring this up when most of the gaming community was probably unaware it even happened? Certainly, I’m not writing this post to single out Leigh Alexander. We’ve discussed her work in our Rumble Reader show, and will likely do so again, seeing as Nick and I are huge fans. Her appearance was ill-advised, but I’m a forgive/forget kind of guy. I also don’t want to bash Giant Bomb, as I discovered after this fateful episode that I liked the rest of their shows. They’re funny, talented guys, and I’m glad to see that Gerstmann’s post-Gamespot project found legs.

No, the last E3 podcast has been bugging me because I’ve heard all of this before. Tipsy hosts, incoherent discussions and a general lack of professionalism from sites that I otherwise respect. I’m not so naive to believe that a lot of the industry rumor-mongering comes from loose lips at parties and events. That’s true of journalism in general, honestly. But ideally, even entertainment journalists – and no, I don’t think we need to feel guilty for using that term – should tone down the partying just a bit when presenting to their reading/listening audience.

And yeah, this is coming from a member of The Rumble Pack, the podcast that brings you fart jokes and “Mr. Show” references every week. But Ms. Alexander works for Gamasutra, arguably our most dependable and professional industry news site. At a time when all eyes are focused on games, it seems like now should be when everyone buckles down, rather than cutting loose. At this time, more than any other, casual fans might seek out podcasts for a bit more information. That first impressions could be the last if the booze is flowing in the recording booth.

This is also a time when the Giant Bomb guys and their colleagues are probably the most burnt out. ‘Round the clock coverage and tons of meetings are undoubtedly exhausting. But that podcast was an exercise in self-indulgence, a reunion of friends for them, but a bit alienating for those of us listening at home.

Once again, I’d like to make it clear that while this podcast episode was particularly egregious,  I think that E3 tends to bring out both the best and the worst of the gaming press. I think this incident would fit very well in Dan Hsu’s editorial from EGM 238, “The Case Against the Gaming Press.” (Ditto for this BitMob post from Mitchell Dyer.) I think that we need guys like these to help keep the press honest, especially as we experience the growing pains of digital media. Podcasts and video presentations have only been around for a handful of years, and game journalists need to adjust accordingly if they’re going to be behind the mic or in front of the camera.

As a closing aside, I think it’s also important that the audience shows a little patience here. There’s no authoritative podcasting manual. We’re making this up as we go along, and mistakes will be made along the way. If you see someone shirking on his or her duties, or perhaps not representing the industry in a positive manner, speak up, but please keep the vitriol (and in this instance, misogyny) out of it.

*I would pick the latter in every battle mentioned.

Level Design

This is a matter of preference, but my vote would go to Galaxy 2. The original spent much of the time in earlier galaxies introducing players to the gravity-defying running and jumping, but the sequel assumes players are ready for deadlier obstacle courses and more outlandish challenges. In many instances, the levels are designed to keep Mario moving as fast as possible, so that the player is never waiting too long on any particular planetoid. (This is especially true whenever Yoshi’s Dash Pepper shows up). Bonus points go to the sequel’s bird races for being much less infuriating than the manta water slides.

Scope

Galaxy 2 is very streamlined compared to its predecessor. I don’t know if that’s a response to the success of New Super Mario Bros. Wii or because people didn’t like the spaceship hub from Galaxy (probably both), but the constant hopping in and out of levels feels completely new to the 3D Mario games. And in this particular instance, I prefer the more traditional approach.

We’ve seen this shifting dynamic in the series before. In Super Mario Bros. 3, levels were over in a blink, with dozens of new enemies showing up throughout. Miyamoto never allowed anything to overstay its welcome; that less-is-more philosophy is a big reason why fans still vividly remember Kuribo’s Shoe or the tornado/Angry Sun combo. The fourth game to reach our shores, World, added a new steed and bigger foes, but there was now a greater emphasis on exploration. Hidden keys, warp gates, the star world – World  may have had fewer tricks but it was arguably the grander experience anyway. Two decades later, the two Galaxies diverge along the same lines, though interestingly enough, it’s the first Galaxy that feels richer to me.

Power-Ups

Galaxy 2 wins this category hands down. While the throwback suits in the first game were cool, the Bee Suit and Boo Suit in particular felt shoehorned into their levels. It was all about nostalgia, plain and simple. In Galaxy 2, the Rock Suit, the Cloud Suit and the drill work splendidly and are much more versatile. Whether you’re creating cloudy platforms in between long jumps or drilling through an entire planet, these items are genuinely useful and allow Mario to travel much faster.

The biggest bullet point on the back of Galaxy 2‘s case is Yoshi, and he’s also implemented elegantly. No longer a juice-puking nuisance, Yoshi’s flutter jump and accurate tongue make some of the game’s trickier spots much more manageable. Hell, even he has his own set of useful power-ups.

Sadly, no sign of Galaxy‘s Ice Flower. R.I.P.

Bosses

With the exception of Yoshi’s Island, which doesn’t even belong in the series according to some, the Super Mario series was never really known for great boss battles. Be honest; you don’t really have fond memories of Boom-Boom or Reznor, right? However, Galaxy changed that in a big way. Suddenly, Bowser Jr. was commanding a huge mech and nearly every galaxy ended with an epic brawl. These fights could be surprisingly challenging, too. (The Bouldergeist comet was five times the personal ass-kicker that “Luigi’s Purple Coins” was for everyone else.)

I was very glad to see Galaxy 2 follow suit, and it even brings back all of the bosses from the first game in one of the special stages. Another clear win, but next time, how about we change up the Bowser fights a bit, OK?

Story

We’re all sick of the usual shtick. Maybe Miyamoto and crew see Bowser kidnapping Peach as timeless, but it’s more tedious for anyone who has kept up with the series. Believe it or not, however, the original Galaxy played with these conventions a bit. The game opened with an ominous invasion of airships and concluded with the universe essentially resetting itself. Rosalina added just the slightest bit of ambiguity – yeah, we’re still talking about a Mario game – and it’s a shame that the developers felt the need to pull back with the sequel.

The End-Game

Upon finding 120 stars, players could go through the entire adventure a second time as…SPOILERS…Luigi. Though Mario’s brother could jump higher and had less traction, the game itself remained the same. A cool bonus, but not really new content. Galaxy 2 introduces Luigi much earlier, and instead offers…again, SPOILERS…hidden green stars. Though I’m not sure I’m going to go back to collect them all, I like knowing that there are a few more stars to save up for a rainy day.

Nostalgia

For some of you, this may have little/no value, and honestly, if the games only served up nostalgia, then you probably wouldn’t even be reading this post in the first place. But because the Galaxy games are so good, the references to older games only enhance the experiences.  The first game had a lot of call-backs and enemies that hadn’t been seen in years. While Super Mario Sunshine still holds a special place in my heart, I was really excited to see enemies like the Magikoopa and Rocky Wrenches realized in 3D. Galaxy 2 lays it on even thicker. Not only do you have an entire level ripped from a past game, but there are even more cameos and nods. Rainbow Road? A giant galaxy? This fanboy approves.

Controls, Presentation
A tie. Both games look great, feel great and sound great. I wish every Nintendo franchise would get the full orchestral treatment.

THE WINNER: SUPER MARIO GALAXY 2
Both Marios put up a good fight, but the second game shines just a little brighter. I’m still partial to the first Galaxy‘s pacing and soaring heights, but the sequel avoids some of the first’s stumbles. (No mirrored beehive level, thank goodness!) Still, both are instant classics and the two very best games you can buy for the Wii. I don’t know how Nintendo will ever top this entire universe of levels.