برچسب: why

  • 5 Reasons why Wario Land was Virtual Boy’s redemption

    5 Reasons why Wario Land was Virtual Boy’s redemption


    Wario giving a thumbs-up on the Virtual Boy Wario Land title screen

    Image credit: Nintendo

    For every success, like the Nintendo Switch 2, there’s a dud, like the Virtual Boy. Released in Japan and America in 1995, it was developed by Game Boy creator Gunpei Yokoi as the next evolutionary step in gaming. However, this bulky red headset was arguably Dead on Arrival. Owners would complain about feeling nauseous after using the Virtual Boy for several minutes, and the games available were subpar at best.

    The device was an example of Nintendo trying to be forward-thinking as to where the industry was going. However, despite Virtual Boy being a flop, there was one game that shone through: Wario Land. Although it was slightly similar to the first Wario Land that debuted on the Game Boy handheld in 1994, it differed in many ways, being regarded as an underrated classic, nearly 30 years on. 


    The Escapist recaps 

    • The Virtual Boy was released 30 years ago in July 1995.
    • The system only supported games made for it, which could only have a black and red color scheme.
    • The system was a notable failure for Nintendo, perhaps remaining one of the biggest in the company’s past. 
    • Wario Land is the best game of the 22 games made for the system.
    • The game made use of the system’s headache-inducing, but impressive at the time, 3D.

    Art Style

    It’s hard to fathom that Virtual Boy Wario Land came out just 18 months after the original Wario Land on the Game Boy, but it did. The extra power the headset offered meant that a crisper art style could be used. 

    Despite the red and black color scheme that tried to simulate 3D effects in the game, the way hazards like lava and enemies move brings the world alive. When you discover certain treasures in unique rooms, you feel as though it’s a special moment.

    Background and Foreground

    Although arguably part of the art style too, the effect of Wario being able to jump into the background and foreground is worth its own mention. As you run through the many levels, you’ll come across an arrow on the ground. 

    Jumping on this will have Wario leap to the background in a quasi-3D effect, adding to the parallax depth that the Virtual Boy tried to achieve. It may have seemed like a gimmick in other games like Golf and Mario Tennis, but Wario Land arguably did it right by making it a part of the levels so that treasures and more could be uncovered, as well as using the effect for enemies and bosses.

    A New Hat

    Wario facing a large enemy in Virtual Boy Wario Land, with red 3D-style visuals
    The art style of Wario Land translated surprisingly well to the black and red display. Image credit: Nintendo

    Granting Wario new abilities via hats is a lost art in recent titles, but early on, collecting hats that looked like jets and dragons was a fun moment. These would enable Wario to fly through the levels, charge through them like a bull, or breathe fire in order to break blocks and destroy multiple enemies at once. 

    Despite Virtual Boy Wario Land having the same hats as its Game Boy predecessor, it did have a new one. Called the ‘King Dragon’ hat, this would combine two of these abilities at once, meaning Wario can fly and breathe fire at once, making certain moments ones to remember, but also makes us pine for a return of these abilities in a new Wario game someday.

    Bosses

    The bosses in the entire Wario Land series are arguably one of its best attributes. From the Genie in the first title to the mutated bat in the fourth game, they can be unpredictable, challenging, but very fun to play repeatedly. The same applies for this Virtual Boy entry, with each of the five bosses using the quasi-3D effects to appear between the background and foreground to try and hit Wario in various ways. 

    You’ll find robots, goblins, and more trying to hurt you with projectiles being fired from the background, but it’s the detail of these that makes a big impression when playing the game. They’re all incredibly fun to replay, even with the red and black color scheme.

    Endings

    Another lost art of the Wario Land series is the multiple endings players can get, depending on how much treasure gets collected throughout. The very first entry on Game Boy had a bunch of them, which could vary from Wario earning a birdhouse after collecting barely any treasure, to a whole planet after collecting a boatload. 

    The same applies to Virtual Boy Wario Land, with a few endings dependent on how much treasure you collect throughout the 14 levels. As you defeat the final boss, you’ll go into another room where it will show the treasure you’ve collected, and after the credits roll, Wario appears on a mode of transport. It could be a magic carpet, a blimp, or something more, totally dependent on how much treasure has been collected! 

    It’s a fun aspect to finish off the game, and could encourage you to try again to see what else Wario travels on.

    Ask The Escapist 

    Did Nintendo ever try virtual reality after the Virtual Boy?

    Although there have been modern attempts to bring Virtual Reality to the mainstream, like the Meta Quest and the PlayStation VR, Nintendo hasn’t returned to the format since the Virtual Boy. It did have great success with stereoscopic 3D, though, with the 3DS consoles.

    Does Wario remain relevant to Nintendo after the Virtual Boy’s failure?

    Wario has never eclipsed Mario in terms of popularity, but he remains a favorite of Nintendo players, especially thanks to the bizarre yet wonderful WarioWare series. Although he’s not had a platformer outing since 2008’s Wario Land: Shake It!


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  • Here’s why I’m playing Genshin Impact instead of Death Stranding 2

    Here’s why I’m playing Genshin Impact instead of Death Stranding 2


    Death Stranding 2: On the Beach’s bleak slog along hostile, post-apocalyptic delivery routes should have pulled me into the proverbial tar. However, despite director Hideo Kojima’s best efforts, I found myself drawn to a different source of philosophical curiosity, meaningful exploration, and bountiful vistas. 

    Genshin Impact, a high-concept fantasy action RPG, may seem a far cry from Death Stranding to the uninitiated.  Developer MiHoYo’s marketing revolves around a colourful roster of impractically dressed Genshin Impact characters to appeal to prospective players, but that’s not what gives the game its staying power. In a previous life, I looked upon Genshin Impact with distaste: To these fans, I apologise with the heaviest possible heart. I was wrong. 


    The Escapist recaps 

    • High-fantasy action RPG Genshin Impact delivers on promises of exploration and thought-provoking themes more generously than Death Stranding 2.
    • Don’t let the pretty anime characters fool you, Genshin Impact has serious depth, which rivals Hideo Kojima’s best work.
    • Exploration in Genshin is generous, well-placed and rewarding.
    • Death Stranding 2 is rewarding in its own right, but bleakness is not the same thing as quality.
    • Genshin Impact is far from perfect, but it has a heart that Death Stranding 2 lacks by comparison.

    Genshin Impact’s travel and exploration

    In MiHoYo’s colorful RPG, you spend a great deal of time venturing across the Genshin Impact map in search of enemies to loot, challenges to overcome, and travel nodes to unlock. The game world is immense and, contrary to Death Stranding 2, you’re given relatively few tools with which to explore it. 

    However, given that Genshin Impact famously (and perhaps controversially) borrows from The Legend of Zelda: Breath of the Wild, the tools with which you are equipped are far-reaching and ambitious in their scope. You traverse the map primarily with climbing and gliding mechanics – both are limited by an energy bar, which can be gradually upgraded as you play. Given the impressive verticality of Genshin Impact’s level design, this is more than enough to allow the savvy traveller to plot creatively efficient routes across the terrain. 

    This process contains the essence of Kojima’s sequel. Death Stranding 2 gameplay revolves around the practice of logistics. Playing as Sam Bridges, brought to life by the excessively gruff but undoubtedly talented Norman Reedus, you are tasked with linking up disparate parts of a ravaged world by delivering packages and bringing new settlements onto the ‘Chiral Network’ (a sort of post-apocalyptic internet). 

    Director Hideo Kojima has made much of the unique qualities of what he calls a ‘strand game’, of which he would doubtless tout Death Stranding 2 as a dauntless example. 

    However, if Death Stranding is a ‘strand game’, then so is Genshin Impact. The routes you plot across its maps draw lines back and forth between points of interest. Even travel in familiar areas will often necessitate lateral thinking to plot the most efficient route. While none of Death Stranding 2’s cavalcade of ladders and vehicles are available, the essential puzzle at the heart of traversal is looms large across Genshin Impact’s world. 

    How does Death Stranding 2 compare?  

    However, Death Stranding 2 is more than just its traversal mechanics. In the tradition of games associated with Kojima, hot, heavy and thought-provoking themes are baked into the title’s very substance. It’s not subtle, but its treatment of fatherhood, grief and social decay is resonant and emotionally affecting. What’s more, Death Stranding 2 graphical fidelity is mind-bendingly engrossing to the point of near-cinematic realism. This in itself is deeply impressive, worthy of recognition from any player. It elevates all of Death Stranding 2’s features, grounding the game’s sense of post-apocalyptic unreality within a deeply human context. 

    Despite these herculean achievements, however, Genshin Impact is able to demonstrate that Kojima Productions does not have a monopoly on thematically compelling open-world exploration games. 

    That said, at first glance, the story of Genshin Impact is far from distinctive; the title follows an interplanetary traveller who, having crash-landed on the fantasy world of Teyvat, finds themself on a quest to find their sibling – so far, so generic. 

    However, the world in which the adventure takes place is anything but. Like Death Stranding 2, Genshin Impact takes place after an apocalyptic catastrophe, the outcome of which its main characters must confront. Teyvat’s humans live in the shadow of seven living gods, known as Archons, whose inner turmoil and personal baggage cause crises for mortals on an alarmingly regular basis. 

    To live in Teyvat is to be caught in the middle of a (very literal) war in heaven where, hour by hour and layer by layer, the answers to weighty metaphysical questions are teased and, eventually, answered. Genshin Impact manages this process with consistency, something which cannot always be said for Death Stranding 2.  

    Death Stranding 2, much like its predecessor, is both tonally and metaphysically uneven. For instance, the death of a significant character at the end of the game’s first chapter sees the sensitive protagonist embark on an uncharacteristically self-destructive arc fueled by alcoholism and self-loathing. 

    By contrast, during one particularly tragic moment in Genshin Impact, a character is flat out erased from existence, every single mention of them eradicated, right down to the item descriptions in your inventory. These quests ground the characters in the world, proving that consistency is key. 

    Death Stranding 2 has a great deal to offer for fans of stunning, granular exploration. However, despite all of its graphical embellishments and additional traversal mechanics, Genshin Impact reminds us, by comparison, that less can sometimes be more. 

    Despite boasting wildly different aesthetic approaches, both titles are about a wanderer who is endeavouring to restore a damaged world through acts of service and compassion. Both games are, at their core, about connection and relationships. 

    However, when compared directly to Death Stranding 2, Genshin Impact dances to a more reliable tune. Compared to the off-putting tonal inconsistencies and convolution of Death Stranding 2, Genshin Impact makes for an emotionally generous experience where characters and relationships are given ample time and space to take root in your heart. 

    Genshin Impact is a post-modern opus that confronts ideas of gnosticism, social engineering, morality, and religion with an adroitness and breadth utterly belied by its cover. All of this is framed against intuitive, well-paced, and rewarding exploration mechanics. Despite the title’s gung-ho and, at times, off-putting approach to monetisation, Genshin Impact’s generous open-world vistas make Death Stranding 2 seem miserly and sullen by comparison. 

    Ask the Escapist 

    How long is Death Stranding 2: On the Beach?

    Death Stranding 2 takes between 40 and 50 hours for a campaign-centric playthrough. However, if you’re looking to take a completionist approach, this could extend to roughly 100 hours.

    Why is Genshin Impact so popular?

    Genshin Impact is popular because it offers a roster of charming characters against the backdrop of a compelling and mysterious setting. The questions at the heart of the story encourage players to devote time and energy to exploring the world of Teyvat.

    References

    1. https://www.thegamer.com/kojima-strand-games-genre-explained/ 

    The Escapist is supported by our audience. When you purchase through links on our site, we may earn a small affiliate commission. Learn more about our Affiliate Policy



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  • Why are enemy color pairs less "cohesive"?


    It seems to be common knowledge that enemy color pairs in Magic have less synergy than allied pairs. As an example, the highest score question on the site, What are the names for Magic's different colour combinations?, asserts without explanation that allied color pairs have "higher deck cohesion". Then it repeats this claim in explaining why wedges are generally less often seen than shards. But I don’t really understand why. It seems to me that every color pair offers something different, and many enemy color pairs seem very cohesive to me. The current meta in multiple formats seems to support this.

    In standard the most popular deck right now according to MTG Goldfish is Izzet Prowess. And the 2 most popular modern decks are Boros Energy and Izzet Prowess.

    I haven’t played much Canadian Highlander, but watching LRR’s North 100 podcast, it seems Jeskai is the most powerful color combination in that format.

    It doesn’t seem like an outlier when multiple formats of varying power levels are dominated by enemy color pairs and wedges. Izzet Prowess seems like a very synergistic deck built off the payoff for slinging a lot of cheap spells. Boros Energy in Modern seems built off the back of several very powerful cards some of which happen to have Energy. But to me, Red and White offer a lot to each other. Red provides reach in the form of direct damage and card selection with rummage/impulse draw effects, while White is a better at going wide and gives non-damage based removal to deal with high toughness or non-creature threats.

    Perhaps I am somewhat conflating power and cohesion, as my examples rely on high performing decks. And I do want to acknowledge that there is a bit of a bias with my examples, perhaps Boros and especially Izzet are just particularly well suited to each other among enemy pairs. However, other color pairs seem similarly synergistic to me. Simic pairs the card draw of Blue with the ramp of Green for a powerful big mana deck. Orzhov pairs the go wide power of White with the sacrifice theme of Black to be the backbone of many aristocrats builds. Golgari pairs the powerful mill and graveyard effects of Green and Black giving a powerful, recursive engine. All the enemy color pairs have a very solid synergy built in, in my opinion.

    So can someone please explain where this seemingly common conception that allied pairs are more "cohesive" comes from?



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  • In MTG, why aren’t mono-color decks optimal?


    If you were to take a naive approach to theory-crafting and deck-building in MTG, mono-colored decks would always be the optimal way to play. Adding more colors (again, thinking naively) only introduces problems:

    • Not drawing the right mana-source type or enough of them (especially in the first turn).
    • Needing to balance the ratio of cards-per-color rather than not having to worry about it if they’re all one color.
    • Hypothetically having less access to the cards you want to draw (not necessarily always the case but in mono-decks it’s easier to stack more of the same cards or types of cards).
    • Being stuck with cards you can’t play in your hand (more often than in mono-decks).
    • Higher constraint on total mana cost, especially when a card costs multiple colored mana.
    • Et cetera.

    In practice, it’s obvious that mono-decks are not optimal as multi-color decks are extremely popular. People will debate how good they are, ranging from "can’t be competitive" to "red burn is the best deck in the game", even in the past year or so.

    So my question is: what are the abstract; theory-crafting advantages to multi-colored decks that off-set the many and obvious advantages monos have? If possible, I’d appreciate not relying heavily on MTG examples as I feel this question has value for game-design and theory-crafting beyond MTG, as other games and genres also have mix-and-match mechanics. (Of course all answers are well-come, just explaining where I’m personally coming from)!

    I focused on colors and didn’t mention artifacts as they can have great utility either way.
    Let’s also assume ample access to cards to the extent building a strong deck isn’t an issue.



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  • Why you should Tabletop Simulator — The Treehouse

    Why you should Tabletop Simulator — The Treehouse



    How about as a social experience?

    Here we come to a few ways TTS differs from a real table experience. The lack of visible social cues can, if you’re not already a close-knit group, lead to people talking over one another, as you have no way of telling when someone’s about to speak.

    You’ll also need a separate piece of software to talk to your fellow gamers. I highly recommend Discord as it’s straightforward to use and is available on PC, Android & iOS. If you already use Skype, Messenger or something else then you can also continue to use that. 

    I’ve used TTS to socialise. I’ve met new friends and used it to connect with old ones. Whilst TTS will never replace a “real” tabletop experience, it’s something different, not less. I think I’ll end up continuing to use it after all this is over as a way to play games from my own home with players I can’t normally get together with. It’s honestly better than I ever expected. 

    Who would you recommend it for?

    Really, almost anyone who is comfortable using a computer or is happy to learn. it’s quick and easy to learn if you have any level of competency using a PC and a breeze for anyone who would call themselves a “gamer”. I found my way around it in a few minutes and the community is always willing to offer any help or assistance you might need. 

    Find out more about Tabletop Simulator here.

    If you’ve enjoyed this content, you can show your appreciation with a small contribution here, which would be a big help to The Treehouse in this time of limited cash flow.



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  • why card games rock — The Treehouse

    why card games rock — The Treehouse



    Pick a Dog

    Pick-a-Dog (1-5 players) (and its virtually identical sibling games, Pick-a-Pig, Pick-a-Seal and Pick-a-Polar-Bear) rely on high-speed matching, but with storytelling added in. You start by laying out a grid of cards that may match, but mostly don’t quite match exactly. Each player turns over their own starting card, which sets off a round of looking for matches in the grid. Though there are some exact matches, all the pictures are similar – they feature a dog who can be depicted with a number of binary qualities: looking pale or having a tan, holding popcorn or not, wearing sunglasses or not, standing near to you or far away, and using one hand or two hands.

    The twist in the matching portion of the game is that you can only match cards that are either exact, or follow a sequence where there is only ONE change per card (you can go from sunglasses to no sunglasses, for example, but not from far to near at the same time). The free-for-all ends when there are no more matches to make (but watch out – if you call it and there are still more matches available, you forfeit your hand and can’t score any points that round, while the other players can resume).

    Scoring is fun and unusual (or at least it is the way we teach it at The Treehouse!): to prove you’ve made a true sequence with only one difference on each card, you have to tell a story about your buddy the dog that reflects the pictures as you reveal them. It’s very cute indeed. If you discover mistakes in anyone’s sequence, those cards go straight into the discard pile. The players earn the cards they’ve proven are in a sequence each round, and at the end of the game, the winner is the one who has the most cards.



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