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The Legend of Zelda: Majora’s Mask — Retro Gaming Essentials (No. 34)

As a grotesque, anthropomorphized moon threatens to collide with your world and bring about total annihilation, you, as the gamer, wrestle with the very real notion that you don’t know how to stop this, and moreover, that you’re not going to have the time to do anything about it anyway, even if you could figure out what that was supposed to be.

In short, you’re doomed.

And you know it.

Bummer.

Quite obviously, it is not a stretch to say that “The Legend of Zelda: Majora’s Mask” is one of Nintendo’s darker creations, nor is it unfair to say that the game isn’t shy about throwing the player into the deep end quickly. The primary objective of the game, that of preventing this global apocalypse, is shoved in your face right away.

And it is added upon with still more to burden yourself with, as though preventing widespread death and devastation is … somehow not enough.

Whereas its immediate predecessor (and certified gem) “Ocarina of Time” started you out in the comfy confines of your personal home and community, introducing you gradually to external threats (with mostly obvious methods – and fairly introduced abilities – to overcome them), Majora’s Mask at the outset puts you in a vulnerable position alone on the road, makes you an immediate victim of a robbery and a curse(!), then leaves you with this hellish scenario of the moon colliding with your immediate location raining certain destruction … with just three days to try to stop it from happening.

Feelings of dread and doom overwhelm, to the extent few games have emulated before or since. We’re 45 minutes into this game, and we cannot in our wildest imaginations begin to understand how we’re going to get our heroic alter-ego, Link, through this one.

“Well, it’s been a good run buddy, but I don’t know how we’re going to get out of this one alive.”

“Me neither. See you on the other side, champ.”

Compare this to previous Zelda games. An enemy, even a grossly overpowered one like Ganon, is still just one entity. The challenge is easier to wrap your arms around.

Take down this bad guy.
Save the princess.
Win the day!

The threat in Majora’s Mask is more elusive, ultimately, and more conceptually difficult to process. Its scope is immense, akin to asking a person to solve a problem like world hunger or devise a method for ridding the world of cockroaches.

“Where do I even begin?”

Where indeed. The trick, which is revealed in those early moments (but only after a sort of dread-panic has taken firm hold), is that time travel once again comes into play, as it did in the previous game.

Here, it’s implemented differently, as a kind of looping dynamic. You can go back to the beginning of this hellish scenario as many times as you like, as it turns out, as a way of “buying” yourself more time.

But this is a true deal with the devil, Faustian in its intent.

Yes, you get a chance to restart. But it’s a return to the same initial feelings of despair that so overwhelmed you to begin with. It’s the same place, with the same people, with the same scenario. Played out, over and over again. And as if that doesn’t sound problematic enough – retraumatizing yourself over and over again – certain things you’ve done to rectify the problems in the world around you … well those reset as well. Progress is lost. You must begin all over again. And perhaps worst of all, once you reach a certain point in the time loop, you reach yet another level of horrifying understanding, and it’s that your first impression was actually correct:

The breadth of the task in front of you is simply impossible.

You cannot do it. There’s just no way to save everyone and fix everything. Some wrongs will not be corrected, and there’s nothing you can do about that.

In a sense, you truly ARE doomed.

THIS is the essence of Majora’s Mask. And it’s effing brilliant.

The Legend of Zelda: Majora’s Mask at a glance:
Genre: Adventure
Released: 2000
Platform: Nintendo 64
Runner-up for GameSpot’s “Best Nintendo 64 Game”

Donkey Kong Country 2: Diddy’s Kong Quest — Retro Gaming Essentials (No. 32)

Rhythm games haven’t always been so explicit.

Today’s generation of rhythm games – including such noteworthy examples as “Thumper” and “Crypt of the NecroDancer” – are very clear about their design choices in relation to the objectives, generally providing an on-screen timed graphic of some sort meant to coincide with a gamer’s button press.

It all works within the flow of the music, but the idea being conveyed is clear. “Press a button … now!”

If the person playing times their button presses well enough, they are rewarded with praise, advancement, and sometimes even rewards.

This simple concept, of indicating to a gamer when and where they should push a button, as though the music itself isn’t enough of an indicator, has been around quite a while.

1996’s “Parappa the Rapper” is often credited with popularizing this template, and that game absolutely deserves every ounce of praise it has ever received … though it wasn’t exactly alone in creating this sub-genre.

Of course, musical games like “Simon” predate Parappa by a good bit, and if you consider them for longer than a minute, you do realize that while the rhythm of those games is an afterthought, it does emerge organically, particularly as it relates to the avoidance of running out of time.

Moreover, though Simon was an external device/toy unconnected to any dedicated hardware, it was absolutely electronic in nature with a requirement of interactivity in order that it might operate properly.

Within that context, we might accurately say that the origins of the rhythm video game actually lie nearly 50 years past.

And yet, the true heyday, the “golden era” if you will, was the mid-90s to mid-2000s.

“Parappa the Rapper” beget “Beatmania” which beget “Dance Dance Revolution” (Dance Dance is a whole different conversation that we shall come to at some point in this countdown, I can assure you) which went on to beget “Bust a Groove,” and on and on we went, along through games like “Rock Band” and “Guitar Hero” which themselves became MONSTER hits (with gamers and non-gamers alike).

The newer games within the genre (released within the past decade or so) distinguish themselves by offering interesting thematic elements such as specific characters and music an audience might gravitate towards (Kingdom Hearts! Zelda! The Beatles!), as well as deeper environments to explore that don’t merely consist of one static screen, or perhaps if we’re really gonna get crazy, a screen that scrolls towards you while the notes/button presses come flying at you in real time.

But there’s a noticeable, familiar chaining to this system. “Press a button … now!. Press a different button … now!”

It’s pretty much always this way.

And it doesn’t have to be.

To understand this, we merely need to circle back to a different sort of rhythm game that predates the likes of Dance Dance Revolution, Rock Band, and Parappa the Rapper. One that’s less explicit in its stated intent, yet no less demanding when the game fires up.

You are not visually or verbally told to press certain buttons … the game merely demands it of you instead.

You are required to do things a certain way to progress, and that way is rhythmic in nature.

Jump. Jump. Bounce. Bounce.

Pause. Jump. Pause. Jump.

Attack. Move. Attack. Move.

Enemies are spaced from one another to encourage these inputs. The music is smooth and appealing enough to pull you in, yet urgent enough to pull you forward.

Patterns emerge. The soundtrack mirrors the action and vice versa.

Jump. Bounce. Bounce. Bounce.

And as you progress through the game, this oddity, of there being a rhythmic nature of one’s inputs, becomes more and more obvious, until eventually, there is little point in denying what is happening.

For those who have been paying attention, “Donkey Kong Country” offered up its own kind of rhythm game when it launched as a reboot/rebranding of Nintendo’s big ape in 1994.

And the series’ first sequel, “Donkey Kong Country 2: Diddy’s Kong Quest,” managed to not only continue that tradition in resounding fashion, but also remains an absolute masterclass in incredible platforming to this day, refining and perfecting what its predecessor laid the groundwork for.

And what is that, exactly?

A true A+ rhythm platformer.

Donkey Kong Country 2 at a glance:

Genre: Side-scrolling platformer

Released: 1995

Platform: Super Nintendo

No. 17 in Complex’s “Best Super Nintendo Games of All Time”

Super Mario Bros. 3 — Retro Gaming Essentials (No. 21)

We’re back!

After knocking out an even 20 to begin this feature, I took a short break, but with the full intent of returning to writing about some of the very greatest retro video games that I believe everyone should experience.

This was partly because there’s a looooooooong list of games I think earn that particular designation. There’s a whole lot to play, and I have a whole lot of thoughts to share.

But also, more immediately, I have a number of games that earned a 10/10 that we haven’t even discussed yet.

I don’t think you can produce a list like this and leave off 10/10 games, right?

Which brings us to No. 21 on the list. And for full disclosure, unlike my Top 20, from here on I won’t attempt to avoid returning to the same series or characters. If you’ve been following along (or even playing along), by now you’ve experienced a pretty wide range of games, 20-ish different series, characters and so on (I say “-ish” because let’s be honest, there’s some crossover in Mario Kart).

Variety is the spice of life as they say.

That said, it’s alright to go back to something that works really well.

And Super Mario Bros. 3 works really, patently, definitively, absurdly well.

Super Mario Bros. 3
Genre: Side-scrolling platformer
Released: 1990
Platform: NES
Electronic Gaming Monthly’s 2nd best console game of all-time

The best NES games of all time

Hey, the NES Classic has (somewhat quietly) gone back on the market, which has made the system decidedly less rare. Way to be, Nintendo!

For the uninitiated, the NES Classic is a retro re-imagining of the original Nintendo Entertainment System, wherein 30 of the original games for the system are pre-installed on a miniaturized version (including shorter cords!) for retro-game enthusiasts.

This thing was created and released in 2016, promptly sold out, and then no one could get one. Acknowledging the demand, Nintendo has now re-(re?)-released the system … and I’ve managed to acquire one to bathe myself in the nostalgia … making it the perfect time for me to list out what I consider to be the Top 40 NES games of all time.

Why 40? Because I couldn’t narrow it down to just 30. (And I STILL left off a ton of good games.)

In cobbling this list together, I discovered less than half of my favorites made it onto the NES Classic. That should inform your purchasing decision (as should whether you already own any/most of the games on the device). For whatever it’s worth, I’ve got no regrets on my end. I’m happy to have these games now.

If some (all?) of this sounds familiar to you, I did this same rankings thing with the Super NES last year (and also offered a mini-review of that system). So feel free to check that out to decide how intelligent/dumb I am and/or engage in some Super Nintendo nostalgia.

Yes, it’s fair to say I love both of these systems. They were a big part of my teenage years.

So without further delay, here are my Top 40 NES games of all time.

Continue reading The best NES games of all time