December 9: DLC Part 3: What Reggie Said
Okay, so letâs start off by getting that one piece of misinformation out of the way. Reggie didnât say all the DLC characters would be from new series; he said âthese are going to be characters who are new to the series, just like Joker from Persona 5. Characters you would not anticipate to be in Smash Bros Ultimate.â However, itâs easy to understand why people made that assumption, myself included. Reggieâs statement is clear tonally: these are characters who will be unexpected, wild, and alien to Smash. That sounds not unlike new series to me.
...Or does it? This isnât going to be a long thing, but I do want to think about a few ways his statement could be interpreted, as well as how plausible or strong those interpretations seem. So, here we go.
The DLC fighters will not only be entirely new to Smash, they will be so much so that their franchise has never been represented in any capacity. In other words, this would mean either all third party characters -Â âjust like Joker from Persona 5â - or a character from a new Nntendo series. To my knowledge, though, we donât know of any new IPs the company might have beyond Town, and otherwise unrepresented series might be limited to Dragalia Lost.
The DLC fighters will have had no presence in Smash, âjust like Joker from Persona 5,â but that doesnât mean the same is true of their series. There are plenty of series in this game which have dozens and dozens of characters, many of which arenât in the game at all. More precisely, this opens the door for new characters from, for instance, PokĂ©mon or Fire Emblem characters. These would be exciting just on the basis that theyâre completely new.
The DLC fighters are just all newcomers, âjust like Joker from Persona 5.â It is possible that Reggie, skilled promotor that he is, just means that the characters are newcomers, which in and of itself is still a big deal. Itâs very likely a large number of players, potential or otherwise, havenât necessarily realized that all the DLC characters will be new (yes, even with the âeveryone is hereâ marketing). Reggie made a point in that Game Awards interview to say people should feel confident buying the Fighterâs Pass, something at odds with Sakuraiâs statement; he is still selling it.
The DLC fighters, âjust like Joker from Persona 5,â will be especially surprising. This is the take Iâm thinking about more right not, though once again, it could just (and probably does) fall into marketing copy. Part of the other potential of DLC is doing things that couldnât be done in the base game, like out there newcomers. This could mean that popular characters with negligible presence on Nintendo consoles are possible, for instance. Or hell, maybe they wonât have any, like 2B from Nier: Automata.
The latter point is really important, given another interview he recently gave with IGN:
Mr. Sakurai, he's not only a student of Nintendo franchises, and obviously he's had his hand in a few, but he's a student of video games from a total perspective,â Fils-Aime said. âAnd so he's been the driver in really thinking about what type of character coming into Super Smash Bros. Ultimate would bring just a whole different level of fun and enjoyment for the player. That's been the approach. That's the thinking."
This quote is really telling: characters from a âtotalâ perspective pretty much means third parties, doesnât it? Sakurai himself has said that while he might have had misgivings had Cloud never appeared on Nintendo at all, it wasnât outside the realm of possibility.
Of course, this may all be bunk. We know Nintendo chose the DLC characters, so Reggieâs probably fibbing a bit at least in one part of the interview (because, letâs be fair, âour corporation chose this characterâ is less exciting than âour brilliant auteur chose this characterâ). Heâs a showman playing up the game because thatâs what you do when youâre at the Game Awards the night one of your three biggest blockbusters of the year comes out. No matter what, though, I think we should view Reggieâs statement as explicit: surprise, and breadth of the gaming world, is the name of the game. I think itâs best to - at least a little - orient ourselves around the kind of thinking.
(Link to my writings on Super Smash Bros. Ultimate)
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December 7: The Future
Okay, first things first; mea culpa. I drastically underestimated the size and difficulty of actually doing the final work in preparing my Smash Bros. retrospective. It is actually up now, though; if youâve enjoyed my writing here and are okay with an, um, thirty thousand word piece of work, then I do highly recommend it. Anyway, after nine months, the game is out. Iâve been deeply enjoying it, I imagine many of you are as well, but I do think it would be good to quickly look to the future. Well, the future of this blog, anyway.
Like I said in my last post, Iâm not planning on writing anywhere near the level I was for this. Iâm not gonna show up five nights a week; Iâm probably not likely to show up more than two at most. Even then, Iâm typically worse at keeping regular blogging up when thereâs no real ending point - I mean, that was the idea here; write until the game comes out, and likely not much past that. Realistically, Iâll probably write two more posts and then give up as the fatigue from the entire hype cycle only sets in further. Thatâs whatâs happened a lot before, and after all the writing Iâve done for this game, Iâm just looking forward to putting the work on hold. However, Iâm sure Iâll have stuff to say about the game going forward (i.e. yeah, we do kind of have to talk about Joker at some point).
This isnât goodbye or anything, though it is far more than possible my interest in having any sort of presence just completely collapses after this. But I would like to keep writing, albeit on a significantly slower pace. And by that, I mean it would not be regular at all. So I guess instead, consider this a âthank youâ for reading my work, and a non-committal farewell. Iâll maybe (hopefully?) still put out posts whenever I feel inspired to write something, but I want to keep myself far away from the world of daily posts. And really, I just want to enjoy this game now. I think thatâs something we could all use. So...I guess see you when I see you.
(Link to my writings on Super Smash Bros. Ultimate)
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December 5: Summing Up This Journey
Remember the giant flame? Remember when we were trying to figure out what would be different in this iteration? Remember when we wondered about cuts, or were questioning who would be the surprise character, or how different Link would be in his Breath of the Wild form? I hardly even do by this point. Itâs been such a blur since November, and then since August, and then since June, and then since March. The hype train apparently does not actually end.
This - and just to be clear, this is a âmy thoughtsâ post, not anything cogent about Smash - has been a wild and unbelievable trip for me. This has to be the most writing I think Iâve ever put out in my life by an obscene level. The two hundred-plus posts is absurd; itâs about as much as all the Smash related blogging I did for this account put together. It was difficult, frankly, even painfully so at points. There is minimal chance Iâll ever do a daily blog of this size again; it took real effort, and I struggled to come up with exciting and funny and intriguing topics each night (note that I say ânightâ and not âday;â a lot of these kept me up at night reveling in ideas about characters or modes). Iâd advise any reader to think clearly and seriously about how much of their time, mind, and soul into a daily blog, especially if itâs throwing out six paragraph posts a night. Restricting myself to three for the character ones was a big part of why they were higher quality than my other pieces; I had to limit myself.
Eventually, it came to the point where I couldnât keep up the energy for a serious, daily output. My work was getting too serious, my critical ambitions in other areas (a few months ago, I started doing reviews for Assassination Classroom; it was so exciting working on something so far afield of games). And when I started work on my gargantuan Smash retrospective - which will come out on December 7; Iâll link it here - it was just too much to do it all. I am sorry Iâve not been posting here nearly as often as normal. Itâs just that some of the other work had to come first.
At the same time, this was an incredible journey in other ways. It was deeply rewarding seeing people like and respond to my posts, and it was really cool hearing peopleâs ideas and thoughts. And getting all these for a game that looks as great and wild and frenetic as Ultimate is especially lovely. Weâre not getting this again, in all likelihood. And at least right now, I canât imagine pushing myself into doing another blog as time consuming as this; I certainây canât seeing myself do this again, older and more tired. So Iâm glad those two parts collided. It feels right. I know those TV show write ups werenât as interesting to people, and I know why, but they were insanely fun for me (I was planning that Rocky & Bullwinkle one for literal months). And honestly, Iâm pretty confident that all this work has drastically improved my writing. In general, I like to think that every thing I write and create makes me stronger, giving me greater empathy and intelligence and skill. And Iâm pretty sure this has helped me so much with that.
So I guess thatâs where Iâm at. Iâm excited, and happy, and content, a bit melancholy, pleased, proud, and more than almost anything utterly exhausted. Itâll be bizarre actually playing this damn thing on Friday / tomorrow night, and not speculating on it. But tomorrow afternoon, Iâll be back to talk about what the future may hold for this blog. Iâd love to hear your thoughts, but if Iâm being honest, I really always do.
(Link to my writings on Super Smash Bros. Ultimate)
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December 4: So, What Comes Next for Smash?
Weâre all thinking it at least a bit, arenât we? As exciting as the just about to happen release of Ultimate is, and as intriguing as the mysterious DLC characters are, we all know this isnât the end for Smash. Itâs probably not the end for Sakurai as its primary creative force. And yet, things are going to have to change.
Sakurai has spoken extensively about how just adding more and more characters has limited appeal after a certain point, and that sentiment has a great deal of artistic worth and legitimacy. It also does not even include the basic fact that making characters is hard, and at some point you just canât keep going. I mean, these games have to actually exist in a physical sense after a certain point in development; Nintendo canât just keep it in the oven forever. And assuming everything goes on track, Ultimate will end with eighty-two characters. Thatâs literally over double the size of the Brawl cast. Itâs almost obscene. This canât happen again, not because this is bad or because bringing back every fighter was wrong (it was a great, more than legitimate decision), but because it is simply logistically implausible. Note that I did not say âimpossible;â stranger things have happened. But itâs not really fair to expect Sakurai and whoever he works with to be able to keep up that pace.
Because of all this, we all recognize that the next Smash will almost certainly have to be radically different. Maybe itâll cut well over two thirds of the cast, or have mostly new characters? Maybe itâll keep the roster, but only by downgrading the mechanics and graphics entirely, turning it into a different type of fighting game entirely (yeah, I donât think this is happening)? Maybe itâll be just a reimagining of the first game, or have all new characters, or actually be a different genre? But any version of this game cannot have a roster this large and a game this gigantic, at least in the way we know Smash rosters.
Ultimately - pun not intended - Smash canât continue down this track, for a number of reasons. And yeah, that does kinda suck. But that can also be pretty cool. If the series dramatically reinvents itself, that could be fun and fascinating in a way. Maybe those bizarre, radical reinventions will turn out just as good? We will see a change at some point with this series, one in which some things we love will be excised and others will be drastically altered. So just be open to whatever comes next. Weâve still got Ultimate; itâll be around even when the next thing comes along. Change can be a true blessing, and if this series has taught me anything, itâs that challenging assumptions and preconceptions can be wonderful.
(Link to my writings on Super Smash Bros. Ultimate)
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November 30: Smashing the Wait: Rocky & Bullwinkle
When we last left our hero, Woflman Jew was careening down the slopes of Mount Martagon, attempting to finish typing his blog post with his hands while simultaneously attempting to use his feet to drive his promotional refrigerator, which had been bisected by an industrial...
Oh, right. Rocky. Well, letâs start.
Only originally lasting from 1959 to 1964, The Adventures of Rocky and Bullwinkle and Friends - though if youâre interested in looking it up, the show was first titled Rocky and his Friends on ABC from â59 to â61, then The Bullwinkle Show from â62 to â64 on NBC - is one of Americaâs more bizarre cartoon staples. The most famous show by animation legend Jay Ward (though the characters were co-created by his then-partner Alex Anderson, who got shut out of the franchise), itâs a show that aggressively, often hilariously defies easy explanation. But at its core, itâs two genres - a variety show and a breathless radio serial - and two characters. Rocky the Flying Squirrel (June Foray) was diligent, heroic, committed, and loyal to the American Way. His pal, Wossamotta U. alumnus Bullwinkle J. Moose (Bill Scott) tried but could only match the last of those qualities; he was incredibly strong but painfully thick (like, âactually one of the dumbest characters in American TV historyâ thick). And the two of them would invariably get caught up in shenanigans thatâd take them from their home in Frostbite Falls, MN to the ends of the earth. Though they were often blissful to most of it, America was constantly in danger from the evil machinations of those Soviet Pottsylvanian spies, criminals, terrorists, scoundrels, con-artists, and nogoodniks Boris Badenov (Paul Frees) and Natasha Fatale (Foray).
The first (and probably most iconic) story should give a good idea. Bullwinkleâs grandmotherâs fudge cake recipe turns out to be a powerful rocket fuel; the two animals then get recruited into the U.S. Armyâs Department of Guided Moosles, suffer threats from moon men scared that cheap space travel will fill their home with tourists, accidentally evade Borisâ many attempts to kill âmoose and squirrel,â and go across the world - and into Pottsylvanian territory - to grab a recipe necessary fruit bush. But all of them are like this, really. Bullwinkle inherits a mysterious mountain which turns out to contain the worldâs only supply of the gravity defying upsidasium. Boris and Natashaâs fearless leader, Fearless Leader, tries to trick Bullwinkle into finding the magical derby hat that turned Caesar, Genghis Khan, and Elvis into the smartest men in the world. After armies of giant metal mice eat the nationâs TV antennae, Americans threaten to emigrate en masse to nations with better reception, a plot which would leave Boris and Natasha as the only people left. Another time, the two almost destroy the worldâs economy by drastically inflating the worldâs boxtop supply with counterfeits, and Bullwinkle (who saves all his boxtops; why wouldnât he?) gets arrested as the culprit. Every plot save the conclusion had a cliffhanger, with the heroes in peril from dangers as simple as a guillotine and as complex as a robotic super-whale.
But Rocky isnât just that; itâs a five-part variety show, with the main âRocky the Flying Squirrelâ portion taking up the first and last segments. The second was for the classics; either âFractured Fairy Talesâ or âAesop and Sonâ would tell an ironic story about incompetent witches, damsels, princes, animals struggling through, upending, or railing against fairy tale tropes. The middle one let Bullwinkle incompetently explore the finer things through âBullwinkleâs Cornerâ or âMr. Know-It-All,â a poetry slam in the former and âadviceâ on things like âhow to teach a mean bully a lesson at the beachâ or âhow to disarm a live 5000 megaton TNT bomb in your own workshop in your spare time to amuse your friendsâ in the latter. The fourth would show one of the other two main parts of the franchise. In âPeabodyâs Improbable History,â the eponymous Renaissance dog and his pet boy, Sherman, would travel through time in his âWABAC Machineâ and aid the great men of history, all of whom are too incompetent to do whatever it is theyâre famous for without being guided by the nose by a painfully smug pooch. The silent film inspired (but still very talkative) âDudley Do-Right of the Mountiesâ serials told the travails of 19th century Canadaâs most incompetent mountie, whoâd almost accidentally defeat the vile Snidely Whiplash and save the damsel Nell, who only had eyes for Dudleyâs more talented horse, Horse. Then itâd be another âRockyâ and its cliffhanger ending before the two stars credited âsome of the people who made this show impossible.â
I used the word âincompetentâ three times in the last paragraph, and the repetition is arguably necessary. Rocky is not necessarily mean or cynical, but it takes great pride in knocking virtually everything it sees down a peg or two. The asinine spies of the Soviet Union are more threatening to each other than it could ever be to us. The worldâs military leaders are boobs (one recurring âRockyâ character was Capt. Peter Peachfuzz, genetically wired to be incorrect about every subject and decision but too high ranking to not get constant promotions anyway); the same is true for the useless âheroesâ of history. Smokey the Bear is one act of hypnotism away from turning into a violent pyromaniac. Marlon Brandoâs method acting is an absurd joke, and Charles Atlas was a con man (okay, those two are kinda true). Itâs even got a metric ton of morbid jokes: about suicide, being frozen alive or decades, Soviet gulags, executions (Boris on Fearless Leader: âhe's doing a guest shot in this sequence. [BLAM!] There goes a guest now!â), and a nigh endless supply of violent murder plots by the two spies. One arc even ends with a bound Boris shaking with fear and forcing a smile before being shot offscreen by a firing squad, though thankfully heâd return with no explanation. None would ever be needed.
The thing, though, is itâs not at all aggressive like some channer edgelord, and it doesnât take the self-satisfaction South Park takes when it does the same thing. Itâs just that in this world, there is nothing above being deflated by a pun, finger point, or morbid joke. Pottsylvanian society isnât just evil and surreptitious, itâs dementedly so; all phone books are blank and newspapers nothing but ads due to all information being a commodity, their anthem glorifies literal badness, and words used to describe moral traits are harsh language. Thinly veiled pastiches of real people and midcentury TV producers go by so fast itâs almost impossible to catch them, and the show is inundated with stupid puns. One âRockyâ arc about a commandeered WWII fortress is is titled âThe Guns of Abalone,â each âPeabodyâ segment ends with him making a joke so bad the show plays a tuba note off key, and almost every single âRockyâ segment has not one, but two terrible puns for titles. Itâs a devil-may-care attitude that even extended into the real world; to promote a storyline involving âMoosylvaniaâ (an island the U.S. and Canada disputed over, as neither wanted it), Jay Ward had the staff rent an island between the border and started a âcampaignâ for its independence. Unfortunately, his short-lived plan reached its apex on the first day of the Cuban Missile Crisis. The dumb jokes hide an intense brilliance that shines from some incredible writing, frenetic plotting, and especially an ear for dialogue (sadly, the showâs intelligence doesnât extend to a pretty ugly depiction of race, especially when Chinese Native American characters get involved in the plot).
See, what makes Rocky special isnât its visuals, which are great in their low end roughness but were a target of mockery even from its inception; in the 2000s, Looney Tunesâ Chuck Jones once described it as a bunch of people who could write great scripts but didnât want to animate them. Itâs the voice. The show had many, all excellent narrators, most famously Edward Everett Horton as himself for âFracturedâ and William Conrad for âRocky.â And they also werenât above reproach, at times getting in fights with the cast (Boris at one point threatens Conrad with a gun; in another he rewinds the episode to hear narration that could harm Rocky). That emphasis on narration was a product of the showâs interest in radio drama plotting, a distinct and energetic style of storytelling that it put on laughing gas. The cheap animation was ultimately just a pleasingly cruddy avenue for putting out as many weird plots, dad jokes, and goofy ideas as possible. The actors, Foray especially, are amazing; the voices are so instantly iconic, memorable, and influential that even if youâve never watched an episode or heard the actors, you probably know them. And thatâs really true in general; despite being this oddity that never matched the grandeur of Disney (also an occasional target of some elbow ribbing) or the ubiquity of Hanna-Barbera (which unfortunately escaped the same elbow), itâs endured forever in the U.S. After it was cancelled, NBC still played it in syndication for decades, something done later by Nickelodeon and Cartoon Network in the Nineties. Itâs an obvious influence on a huge swath of American animation, and Iâm a pretty certain Homestar Runner counts within that. And throughout a litany of critically and commercially failed reboots or adaptations, the original version, dated as it is, has endured a surprising amount. Itâs deserved.
Why Should Super Smash Bros. Fans Watch it? This might just be me, but thereâs a part of me for at least the last two iterations of Smash thatâs felt like Iâm aboard a train careening off its rails. Not in a bad way, mind; there's just always a sensation that some game mode or feature or...something is going to backfire, or shock in a way thatâs not meant as intended. I talk about this all the time, but itâs that surprise and sense of insecurity that make these games so exciting. Whatâs Sakurai gonna do next?
Rocky & Bullwinkle was essentially built on that, possibly nothing but that. Just in general, the entire show feels like it was made on a breathless race against inevitable cancellation; even if the middle and later episodes didnât have the occasional gag about how they were about to be cancelled, the demented pace gives it away. But the plots are wild, the stories bizarre, the puns beautifully strained, and the sense of abandon reckless. If you like that part of Smash the way I do, itâs not a bad idea to check out some Rocky episodes. Hell, you donât even need to see them in order. But itâs there for when youâd like a bit of happy, blissful chaos.
Well, thatâs all the time we have left. Be here next time, For:Â âThe Ghosts of Macho Pichu,â ORÂ âVillager Chops to It.â
(Link to my writings on Super Smash Bros. Ultimate)
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November 29: My Philosophy
On the night of November 1st, I spent hours into the night chatting with some of my closest online friends about Smash. We geeked out over Piranha Plant and Incineroar, discussed the potential of World of Light, and for a bit talked about the general Smash community. For one part of the latter, we mulled over the odd culture of character-specific campaigns and support groups. And while we were talking about it and possible future characters who might be potentially more or less interesting or valuable, one of them described me as (and Iâm paraphrasing what she said a bit) âone of the most open people towards new characters I know.â It was really nice of a thing to hear, and Iâve thought about it every so often for a lot of this month. This post is going to be one big ego trip, but I would like to think a bit about why I approach newcomers in the way I do.
Iâve talked about this before, but Smash 64 and Melee had a profound effect on me as a kid. So when I really came back to Nintendo (and video games in general) in late 2005, the prospect of a third game, one even greater in size and scope than the last, was immensely exciting. The first Smash game made me love Kirby, but before my departure I only played Kirby 64; coming back, I jumped into Kirby & the Amazing Mirror - and from it, met Meta Knight. His cool style, plus my general enthusiasm for Kirby, made him pretty much immediately my most wanted character. He wasnât the only one: Dedede, Lucario, Toon Wind Waker Link, Paper Mario, and Ridley were all exciting, especially as I started lurking on the hellscape that is Smashboards. But it was Meta Knight above everyone else, without question.
And wouldnât you know it, but he was the very first newcomer. There were, of course, other characters and stages and music I wanted, some of which happened and some of which didnât, but I was left now with an odd sensation of kind of full-on satisfaction. It was like I was being catered to directly, so my excitement then came just as much from unexpected things as they did from what I wanted. Lucario was cool, but a wild moveset from Olimar was almost better. I hoped for a Yoshiâs Island stage, but one based on the original Donkey Kong was so exciting in a way that couldnât match. And the music! I started to get just as (if not more) interested in exploring the new tracks as characters, and those helped get me into some of Nintendoâs games with which I was less familiar. I wonder if, without a huge desire driving me more, all the new content made felt more...exciting, almost like a bonus? Then again, I suspect my attitude is actually matched by the vast majority of Smash players; they see a game that looks fun with some characters they love, and thatâs it. And itâs something thatâs not really changed since Brawl. My most wanted newcomer for Smash For was âcome what may;â my three for Ultimate ended up being âa female fighter who wasnât an Echo, a PokĂ©mon, and âsomething surprising,â and I only landed on those after the August Direct. There havenât really been characters who frustrated or upset me, and even thinking of fighters I explicitly do not want is hard. The real chase I get is from excitement and surprise, and that neednât be limited to characters. Because of that, each incoming Smash game feels like a holiday, constantly doling out expected and surprising gifts. Each game deserves to be challenged, criticized, and interrogated, but none exist to provide solely only one new idea or element.
I do think that while itâs neither unique to me nor something that needs to be emulated, the philosophy Iâve been subconsciously developing over the past decade has made my relationship with Smash more positive and enjoyable. Few things are âmake or breakâ for me, and while there are at least dozens of characters Iâd especially love to have, each new one is exciting - especially ones Iâd never consider. The most negative Iâve been about a newcomer was when Corrinâs trailer started, and their gameplay mostly won me over by the time it ended. I think that thereâs a value in taking just a bit of distance, and especially in not putting all your hopes on one new (or returning) fighter. It also makes me feel as though Smash isnât made for me, or at least not specifically or exclusively so. And honestly, that feeling is deeply freeing. Iâve talked before about how some fans view this series as almost needing to be about them, but one corollary to that is that giving up a bit of that intensity cuts out a great deal of weight. I guess what Iâm saying - and this is deeply hypocritical coming from someone whoâs written over two hundred posts this year (and over four hundred overall) about Smash on this blog alone - is that putting just a bit of distance, giving up just a bit of your hopes can be really helpful. And it can make new things feel more like a bonus and less like a potential threat. There really is a state of transcendence you can get after a point, I can promise you that.
(Link to my writings on Super Smash Bros. Ultimate)
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November 28: DLC Part 3: the Upcoming Games
Now, there are gonna be a number of limitations here, but I think itâs fair to say that Nintendo will likely be looking at a number of new or unreleased games for at least some DLC characters to advertise. I donât think thatâs all weâll get, but Iâm confident assuming that will take up a bit of their attention. So, letâs get to âem - or at least the ones I can remember:
Animal Crossing (though Iâm doubtful this would lead to a character now that Isabelleâs in)
Fire Emblem: Three Houses
Luigiâs Mansion 3
Metroid Prime 4
Pokémon Gen VIII
Town
Yoshiâs Crafted World (though Iâm doubtful of this, too, given Yoshi has that new alternate costume)
Youâll note all these are Nintendo-owned games. Personally, Iâm a bit less of a believer in the possibility of upcoming third party games being included - at least, those that are new intellectual properties and not sequels - just because the rights and processes are weirder and more complicated. You can be more certain that, say, Animal Crossing will come out as something acceptable than a project not entirely or mostly under your control. Though there are also series likely to get a sequel within the next couple years, Kirby and The Legend of Zelda being the biggest. The latter especially could be a big deal, partially since I do think Nintendo will be at least somewhat biased towards the games it more fully controls (over, say, the ones owned by subsidiaries or developed by outside studios). And, there are of course several games we donât know about that are in production; thereâs a chance a fighter might be added before their game even releases, like what happened to Roy.
Now, the easiest way to read this would be through assuming that weâll be getting a character whoâs new, and I do think (at least) one of the fighters will have debuted next year, after Smash. Certainly a PokĂ©mon character will be from the newest generation, for instance. But that might not be entirely the case. The best fit from the new Luigiâs Mansion would likely be King Boo, assuming heâs the bad guy again, just like how a new Kirby game would âprobablyâ go with someone like Bandana Waddle Dee.Â
Again, I also do want to discourage assumptions that itâll be all advertisement for upcoming things. Iâm comfortable assuming promoting new stuff will be a big part, but it might not be all. I do think Nintendo has an interest in adding a new fighter from a guest series. And they probably want to bring in some more classic characters whoâve not yet been in the series (Dixie Kong, Birdo, Bandana Waddle Dee) or more modern characters (someone from Rhythm Heaven or ARMS). In both Mario Kart 8 and Mario Maker, Nintendo has shown an interest in representing things both old and new. Classic and new characters were added as Kart racers (with most of the tracks being of classic games), and Mystery Mushroom costumes ran the gamut from has-been NES characters to gimmicky newcomers to classics used for anniversaries. So I do think itâll be at least a bit more equitable.
However, there will definitely be an interest in grabbing from a new game. Thereâs gotta be; itâd be crazy if there wasnât. Fundamentally, the company is looking at DLC from a financial standpoint (it presumably trusts Sakurai and his team to make it artistically and structurally strong). Itâd be financially smartest to try for every fighter to hit as many of those points we discussed in the last DLC post as possible, and grabbing from newer games is one not small part of that. So pay attention to the upcoming games, especially in Directs from early next year. The games shown off will have been in production for at least some time.
As one final thing, Iâm sorry about having not been on nearly as much over the past week or so. Itâs just been hard thinking of new topics, and Iâve also been trying to work on my Smash Bros. retrospective.
(Link to my writings on Super Smash Bros. Ultimate)
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November 24: How Has Adding Newcomers Changed?
This post will feature no information at all from the recent leaks for Super Smash Bros. Ultimate. I have, however, been looking into some of them, and how a few fans have taken the information to try to discern whether particular choices of spirits, bosses, or music point to any possible downloadable content. Again, this isnât about that. I wonât be talking about what theyâre asking, the evidence being used, or anything of the sort. But their questions about characters have made me think of another question about what of Smash has changed.
Of course, virtually every aspect of what Smash is has changed, altered, or expanded over nineteen years; itâd be nuts if it didnât at least challenge itself. But specifically, Iâm thinking of how it looked at characters. Letâs look at it by game.
Smash 64: the main franchises and icons that Nintendo had, at least at the time. With the exception of Fox (and beyond the importance of his game at the time, heâs important just for his role in Smash), all of the original eight would have to be in any game like this. The other four are weirder, since they were chosen partially to take animations from the rest of the cast, but other than Ness they were iconic and important for the era.
Melee: expanding the main series and filling in odd gaps. Mario, Zelda, and Pokémon surged with important and memorable characters, but most of the rest of the Melee newcomers were more odd or distinct. Having two Fire Emblem characters gave the biggest new series a bit more of an identity, Ice Climbers and Game & Watch ensured retro representation was a thing, but other major series like Donkey Kong and Kirby were left without anyone.
Brawl: bringing in the final BIG icons while looking to the future. Wario, Diddy, Meta Knight, and Dedede were the most outstanding characters, while Sonic was needed just on a historical level. Meanwhile, newer characters like Lucario and Lucas represented Nintendo in the years after Melee came out. Throw in a couple characters with a strong name recognition like Pit, and you have a game that fills out the big gaps of the last while making a few gestures to a new direction.
Smash For: newness, mechanical gimmickry, and a sense of uniqueness. Far more than the last game, we got new characters, ones who would end up partially defining where Nintendo would go in the years of the Wii U (hell, Greninjaâs now in a trailer for a Ryan Reynolds movie). There was also an interest in pushing the limits of what these characters could do, with Robin, Bayonetta, and Rosalina using wild movesets and mechanics. And with five third party characters, there was a clear interest in looking outside of the Nintendo norm. This was also furthered through the DLC.
Ultimate: popularity and âimportance,â to Nintendo and âthe fans.â With the exception of Incineroar (and Richter, but he doesnât quite work as an example), every single fighter in the base game was highly requested, relevant, or with a modern presence - often with at least two of those values. The Echoes only further this, and with such a small amount of space for them, itâs clear there was an interest in going all out in the fanservice. And yet, the first DLC fighter is an amazingly bizarre choice, and weâve no idea of what Nintendo wants with the other five. So maybe weâll see an entirely different direction just for the DLC? It even matches the (non-Echo) newcomers from the base game for size, so contrasting them will be fairly easy.
Even without this, Itâs clear Smash is, and has always been, willing to change up how it approaches characters - at least, inclusion of characters - throughout each game. Theyâre all treated as fighters first when actually in development, of course, but the process for considering them does change a bit each time. It means we canât treat each game as a clear blueprint for the next.
However, there are common themes that do run through each game: a desire for characters both old and new, an interest in mechanically unique fighters, an effort to buff pre-existing franchises, and at least some concern for the inclusion of new series. Those are all important; itâs how important they are that differs for each game. And I think that if there is a way to predict Sakurai, itâs through predicting that. Brawl came seven years after Melee, and Smash For came six years after Brawl. Those are the two most known for having mechanically unique and newer fighters, probably because they had so long to look at Nintendo change and shape. Thatâs not something Melee or Ultimate (which, as planning started at the end of 2015, couldnât predict how huge the Switch would become) could do.
Admittedly, itâs hard to predict how that will shape up with this period of DLC, but I do think looking at it in those terms will help for the next games. I think some direct patterns - one new Fire Emblem person, one new PokĂ©mon person - are easy and sensible, but looking at why those changes in direction happened should be useful in the games to come.
(Link to my writings on Super Smash Bros. Ultimate)
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November 22: Smash Stuff for which Iâm Thankful
Not a long post this time, but it is Thanksgiving. And, well, I thought it might be good for me to just step up and give some love to a few things about Smash Bros. Iâm thankful for this year.
Firstly, yes, Iâm so thankful everyone is in. Itâs not a move Iâd have made, but itâs an honest to goodness miracle Sakurai and Namco managed to pull it off. And it was the right thing to do, I think.
Iâm thankful Ridley got in. Like, we really should not forget how - pardon the pun - huge of a deal that is. Adjusting for time, that funky space pterodactyl was the most wanted character in the seriesâ history by a country mile. With him and second place contender K. Rool both in, weâre nowhere near an obvious leader of the pack now.
Iâm thankful weâve got a wrestler in Smash. I never would have put Incineorar over Decidueye (or a number of other PokĂ©mon fighters, for that matter), but it looks so amazing.
Iâm thankful Castlevania got its due with thirty-four damn pieces of music.
Beyond that, Iâm thankful for the eight hundred-plus songs. Itâs not evenly distributed at all, and there are definitely blind spots (so far), but itâs legitimately incredible as a collection of music. There are normal remixes and rips, but also a ton of bizarre and wonderfully out there choices, and it all leads to something unbelievable in size and scope.
As an addendum, Iâm also specifically thankful we got âThe Starship Sailsâ (or âSky Station 2âł), a Mario Galaxy 2 song Iâve wanted for so long I literally wrote about it in 2014.
Iâm glad people reached out to Nintendo about the racist Mr. Game & Watch animation, and Iâm thankful theyâve responded by stating theyâll edit it. Thereâs still a Fire Attack spirit, and that sucks, but altering the attack itself is a much more important, and better, thing. Itâs something of which Iâm deeply appreciative in a way thatâs hard for me to fully express.
As a corollary, Iâm thankful Leaf and Pikachu Libre are in. Itâs also cool there are two Villagers with darker skin tones, which (unless you count Pocket Camp) is something I believe Smash beat Animal Crossing to. We talk about Sakuraiâs interest in mechanical accessibility, but I think we ignore an interest on his part in other kinds of inclusivity.
Iâm thankful Hanenbow and Environmental Noises, the things no one but me likes, are both back. Theyâre thematically relevant!
Iâm thankful Spirits looks incredibly fascinating and compelling. I was worried since E3 that Ultimate would just be a nostalgia trip (even by the standards of a crossover), but the little weâve seen of it is just absolutely cool. This series never rests on its laurels, and thatâs also something deserving thanks.
Iâm glad people have become legitimately excited about Echo fighters, and have managed to mostly accept and enjoy the beautiful Piranha Plant. I donât think itâs unfair to say that the fan outrage about character choices was still extreme at times this year, but itâs nice seeing those two parts be treated reasonably well.
And looking through all of these, Iâm happy that I was blindsided by so many things, or proven wrong about others. This series gets a lot out of surprise and upending your expectations, even if Sakurai has stated thatâs not his primary interest. But it does happen, a lot, and itâs nice to fall in love with things you disliked or distrusted.
More than anything, though, Iâm thankful for getting to explore this game, and this series, with everyone here. Itâs been a legitimately exhausting experience, and one Iâm not likely to try again, but Iâm been enjoying reading responses, seeing how other people are interpreting the games, and just exploring what this series is and means. Itâs been a wild ride, and while I am looking forward to the end of both the speculation and my regular blogging, it has been and until the gameâs release will continue to be a treat.
What about anyone here? Any things about Ultimate that have made them especially happy or pleased?
(Link to my writings on Super Smash Bros. Ultimate)
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November 20: Master Hand and the World of Toys
As Iâve been writing up this massive retrospective of Smash Bros. (due out the day Ultimate releases!), Iâve been thinking about the premise of this series. Specifically, Iâm referring to the Smash conceit of characters really being toys under the dominion of a hand. Sakurai finally made this explicit in the most recent Direct, but fans have been discussing it for close to two decades. Itâs interesting, isnât it? I mean, functionally Master Hand represents the aspect of fans that wish to play with these characters, pitting them against each other with wild abandon. But in that case, why do the toys struggle? Hell, why are they even sentient (besides that it lets Viridi make fun of King K. Rool)?
It would be easy to look at the fighter / Hand dichotomy - and to be clear, Iâm tabling Crazy Hand, Master Core, and the adventure villains - as being in reference to an artist and their art. Sakurai is, of course, working with his own creation, and so much of this series has come from him and his colleagues wrestling with the challenges that pop up out of it. You could also argue it as being about fandom. Fans are the ones demanding these characters be fighters and that each new game be of greater size, and they interpret these characters in ways Nintendo did not anticipate. But I donât think either of those are really it, and not just because Sakurai really isnât petty enough to want to insult fans. If the former does work, itâs only because itâs based around something as simple as this: the relationship between us and that which we all create.
So art is this bizarre thing. We have sentience, imagination, and desires that go beyond the corporeal world, so we draw and write and shoot and program our thoughts and feelings into a way that makes sense. We enjoy the art of others because they can speak to us or our emotional needs: to explore fear, thrills, righteous anger, loss, joy, arousal, or empowerment. Nintendoâs games have done that for a lot of people, and itâs led plenty of them - myself included - to burden some of their stories and characters with additional meaning. The characters take on a life from those they meet at every level of their existence; itâs how we got Kaizo Mario and fan made EarthBound sequels and Bowsette and two rival Zelda timelines, one by Nintendo and one by fans. These arenât bad for the most part (well, maybe some of the fan PokĂ©mon, Sonic OCs, and misguided Kaizo successors), and really, theyâre evidence of how great these can be. Thereâs enough room in them for these interpretations.
I think Smash Bros. tries, albeit with minimal actual writing or storytelling, to express this fun and occasionally tense relationship. In a sense, we want to control these characters, not just playing them in battle but building them in the way we view them. But they get away from us, and perhaps in so doing show their worth and power. Playing in the âworld of the imagination,â where anything can happen and Waluigi can get in a fight with Rathalos from Monster Hunter while Simon Belmont and Pac-Man are trading blows, is great. But that greatness does have limits, for both us and these characters. Eventually, that does have to end, at least for a time. Ironically, these characters must fight to show themselves greater than just being fighters.
When discussing the Brawl version of Final Destination, Sakurai stated that the stage's background, which took players from a pitch-black galaxy to a realistic sea bathed in light, represented the game getting closest to a âreal-world setting,â and while the seriesâ other Final Destinations lack that imagery in their backgrounds, itâs always been in the name (or its Japanese one, âEnding Point,â or even the term âOmega formsâ). Itâs Smash at its most stripped down: a platform above an abyss, lacking in any embellishments or references. Thatâs what matters, and while things are a little different in Ultimate given how the bosses work, it still mostly holds. For all that the game is a goofy crossover, itâs those mechanical values that matter more than any reference (and even just by the standards of being a crossover, though values - Nintendo values - come first).
All of this is a pretty roundabout way to say that Smash games are about the relationship between us and the things we love, and the imaginary space in which it exists. Sometimes conflict arises from that, and sometimes itâs not a bad thing. In a way, by going through these experiences we hopefully can conquer our own limitations, seeing these characters and our own enjoyment of them through a new and greater perspective. I know itâs weird to think of Smash through these terms, and itâs not really something many fans will care or think about. But there has always been an interest on Sakuraiâs part in looking at this kind of game through a different perspective. It shows, I think, part of the seriesâ attitude in a different way.
(Link to my writings on Super Smash Bros. Ultimate)
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November 18: Future Guest Series
While weâve all got DLC on at least the back of the mind, I want to think a bit more generally for a sec. Because, letâs think about it for a bit. Weâve got ourselves characters from Pac-Man, Mega Man, Castlevania, Final Fantasy, Street Fighter, Metal Gear, Sonic the Hedgehog, and Bayonetta. Thatâs a lot of legitimately massive, world renowned franchises, especially for a series that started with Sakurai working in secret due to not having Nintendoâs permission to use its characters. But there are, of course, still a plethora of other series and characters owned by other companies. So I figured it might be nice to have at least some of the big ones out there, sorted by company for ease. Just to note, this isnât limited to DLC; some characters who are already Assist Trophies will be included, just with their names bolded. In addition, I am restricting myself to characters who have been on Nintendo consoles.
Capcom: multiple characters (Resident Evil), multiple characters (Monster Hunter), Arthur (Ghosts ânâ Goblins), Phoenix Wright (Ace Attorney)
SEGA: Akira (Virtua Fighter), multiple characters (Puyo Puyo)
Square Enix: Lara Croft (Tomb Raider), multiple characters (Dragon Quest), Neku (The World Ends with You)
Bandai Namco: Heihachi (Tekken), multiple characters (Soul Calibur), Gil (Tower of Druaga), Prince of all Cosmos (Katamari Damacy), Lloyd (Tales of Symphonia)
Konami: Bomberman (Bomberman)
Atlus: multiple characters (Shin Megami Tensei), multiple characters (Etrian Odyssey)
Koei Tecmo: Ryu Hayabusa (Ninja Gaiden), multiple characters (Dynasty Warriors), multiple characters (Fatal Frame)
FromSoftware: multiple characters (Dark Souls)
Ubisoft: Rayman (Rayman), multiple characters (Raving Rabbids), Adam Jensen (Deux Ex), multiple characters (Assassinâs Creed)
Bethesda: Dragonborn (The Elder Scrolls), Doom Marine (DOOM)
SNK: Terry Bogard / multiple characters (King of Fighters)
Activision: Crash (Crash Bandicoot)
Disney: Sora (Kingdom Hearts - though rights ownership with that one is complicated)
Microsoft: Steve (Minecraft) - though that seems more of a series that would just be a stage
Indie studios: Shovel Knight (Shovel Knight), Shantae (Shantae)
Note that with the latter, Iâm highly doubtful that indie characters will get in for the foreseeable future; those two were included precisely because they already having been added to the game. That part is huge. In general, though, Iâm being incredibly liberal about which are ârealistic.â I donât imagine any Warriors or Soul Calibur or SNK character being included at all, right off the bat, and a number of other choices I gave were more forced than organic. Several - i.e. Lloyd and Gil - are only here because they were used as costumes. Hell, Akiraâs first appearance on a Nintendo console is in Ultimate; the only Virtua Fighter game thatâs been on a Nintendo system was a swiftly forgotten spinoff. And Crash Bandicoot would be an honestly bizarre, even somewhat dispiriting choice.
Plus, Iâve ignored a number of other games and series, particularly from companies outside Japan. I donât think thatâs entirely unfair; Nintendoâs relationship with Blizzard is pretty new, and theirs with EA seems at the very least deeply passive aggressive. Despite its massive popularity, can something like Fortnite even function in a game like this? And there is always the possibility of doubling down on preexisting game franchises beyond Echoes, though Iâm suspicious of that happening either.
What do I think about all this? Well, first off, itâs that I feel Smash drawing from western companies is going to have to happen eventually for the guest fighters to keep feeling exciting. In a general sense, it feels like there are both a lot and not a ton of places outside Nintendo where the games can keep grabbing. Itâs not to diminish these franchises, but after Castlevania got in, the last truly âhugeâ classic Japanese series are Dragon Quest and SMT, and those are still not as exciting in that gut way.
But truthfully, that was always the end point, and even including Nintendoâs stable. Ultimately, we really donât have many truly iconic Japanese video game characters left, and while the west has a great deal (though not all of them have graced Nintendoâs hardware), thatâll eventually go, too. But thatâs okay! Thatâs in the far future, and there are still plenty of good characters to use for the time being. Plus, there are always exciting new series to expand or even start, as well as the chance for memorable characters like Kazuma Kiryu or 2B to get on the system and satisfy Sakuraiâs (not unreasonable) standards. I guess in that case, Iâd just say that A) the series will absolutely stay vital and energetic, but that B) we really have drawn from most of the âimportantâ Japanese third party series. Thatâll likely affect DLC, but itâll impact future games in the series to a much greater degree. But thatâll be for then, this is now, so for the time being letâs marvel at how much Sakurai and his various teams have managed to bring into the increasingly mammoth Smash Bros. tent.
(Link to my writings on Super Smash Bros. Ultimate)
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November 17: That Music
Iâm feeling somewhat...odd in the past week or two. Perhaps these two hundred posts (if we discount the one where all I did was announce a break) have taken something of a toll. Itâs harder to get into writing about Smash Bros. after having spent so much time diving into it (it doesnât help that Iâve been writing a huge, exciting, but also exhausting retrospective on the series for a separate site). Itâs part of why those TV reviews were so fun to write. Iâm not quitting or anything; itâs just harder to really find concrete, exciting topics. So for tonight, Iâll just look at the thing for which this blog was initially set up all the way back 2014 ways: the music.
While Iâve enjoyed myself a bit watching the footage of various fights pour out as we wait for the game to release, the actual fights have been far less exciting than hearing the sounds, or sneaking a peak at the track name shown for each new battle. Itâs the soundtrack thatâs fascinating me, especially given how almost comically mammoth it is in size.
Itâs interesting to see how much love the new (or in one case, newer) franchises are getting. Sure, Street Fighter (probably) has only twelve songs with three arrangements each, and we havenât gotten anything new from a few franchises, but Splatoon and Castlevania have - justifiably, Iâd say - an amazing glut of music. I get the sense itâs partially because of the quality of those seriesâ music, but also an interest in buffing and working with the new franchises. Which is neat. It also goes along with Fire Emblem having so much new music and likely many of its currently missing tracks to return; itâs becoming important for Nintendo, in large part to Smash itself.
Some of the choices in particular are really cool. The idea of six - six! - pieces of ripped Mario Odyssey tracks is insane, as are the six Sun & Moon remixes. Speaking of PokĂ©mon, the apparent inclusion of Zinniaâs battle theme from Omega Ruby & Alpha Sapphire is great, given that itâs the kind of weird, post-game remake track that wouldnât be chosen in Brawl or Smash For. It all leads to the score having a sense of insane scale, even if there are a disappointingly small number of new remixes. The, frankly, absurd decision to give every stage at least every single song of its series only adds to that.
Of course, there are definitely points of criticism. While the Street Fighter II focus makes sense, it does disappointingly force out of other themes, like those of the Volcanic Rim and especially Dudley. Iâm happy to see the vocal songs return for the WarioWare levels, but seeing nothing new so far does suck. And itâd be really nice to get more music from Kid Icarus, Final Fantasy (though that seems to be out of Sakuraiâs hands), and EarthBound - although we may have just not been able to hear anything of the latter, given that all four of its stages appear to have been blocked in the demo. The prevailing sense I have is that series that got real additions in this iteration, i.e. newcomers and stages, also got more music to go along with it. Which makes sense, but itâd have been nice to have spread the love around a bit more.
All of it means that the most exciting Smash related news to me have been from the Smash Wiki slowly updating its list of tracks in Ultimate. Itâs a fascinating score so far; itâs in many respects less interesting than the prior two games - which would make it part of a (very slight) downturn - but itâs also really weird and interesting in other regards. The sense of nostalgia is also supported by the number of tracks that were cut from prior games only to return here: âSariaâs Song,â âYoshiâs Island (Brawl),â the WarioWare songs, even the damn Smash 64 âBonus Stageâ music. It feels grandiose in a way thatâs wonderful. Iâm so, so happy...and so hungry to find more.
(Link to my writings on Super Smash Bros. Ultimate)
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November 15: On Assist Trophies as Playable Characters
Before we get into this, I want to make a disclaimer. Obviously, the relationship many fans have with the concept and function of Assist Trophies is mixed. To just be upfront, this post is going to get into why any of the current Assist Trophies are unlikely to get a bump up to playable as one of the future DLC fighters in this iteration, and to a lesser extent why they may have not been picked from the start. This isnât meant to be salty or condescending in any way, but I just want people to know from the start that this is not about why their favorite character is âbadâ or anything.
Fans of characters who were made into Assist Trophies have often asked if they can be added as part of the upcoming wave of DLC. Itâs understandable; they want their favorite people in the game. And their argument seems understandable as well, given that this is content being made after the gameâs already come out. Why not promote them? After all, if they were given that role, it means Sakurai presumably wants to give them attention - and that part is true. He does like them; he likely wouldnât choose them otherwise.
I think Sakuraiâs reasoning is fairly simple. The characters who are Assist Trophies are already part of the battle. Yes, itâs in an unplayable position, but they do get to stand and be counted. And because of that, recreating those characters a second time as DLC fighters doesnât make sense, because theyâre already present. Instead, the time should be spent on characters who didnât make it in at all (or only got a tertiary role, as something on the level of a spirit or trophy), and who might contribute other unique mechanics or styles or ideas. Itâs a way of spreading the love around, letting more characters join in the fun.
Whether or not itâs something Sakurai actually believes - again, this is only a hypothesis - I personally feel it's a strong and justified position. The truth of the matter is that there are quite literally hundreds, even thousands, of characters under the Nintendo umbrella (to say nothing of ones owned by other companies), and we passed the point of characters who âhaveâ to be in around the time Wario got in. As great as the Assist Trophy people truly are, theyâre not âmake or breakâ choices (truthfully, few of the playable characters are, either). So even if they are cool or fun or even iconic, there are other characters with those those same qualities, and who have even less of a role in the game.
It is also important to remember that there are a number of reasons why any of these characters were not chosen to be playable. Questions of uniqueness, redundancy, functionality, representation, or any number of other reasons maybe have felled their chances. And that assumes some of them were seriously considered at all; some may have been momentarily considered (Takamaru, for instance, was in Smash For), but itâs not a sure thing at all that they were serious contenders. And while Sakurai âcouldâ have held off using some of them for DLC later, even though he didnât pick the DLC characters this time, heâs typically approached every game as though it might be his last. Itâs only when the projectâs done and planned that we look to the future. Thatâs a little different here, just because early planning on DLC kind of had to be started with most of the work complete, but the principle has held fast.
One corollary from the last paragraph is that there is also no guarantee any of them would have been selected to be DLC fighters had they not been made into Assist Trophies. They do a number of things in the role: represent different series, become a fun wildcard during the battle, and allow well liked characters who didnât make it to be included. Some of them may have just missed the cut, but there really is no way of knowing that, and my guess is that while a few of them might have been considered, most probably werenât at all. Iâd also suspect that many (not even most, but definitely many) of the ones who could functionally work as fighters (i.e. not Andross) likely wouldnât have made the roster even in a game able to have far more newcomers. Because of that, I want to stress once again that Piranha Plant âstoleâ no oneâs âslot.â Its inclusion came down to different reasons.
Once again, I know it can suck when your most wanted character gets passed over, and seeing them as only secondary heroes does carry some bittersweet feelings. The idea that they may have never been seriously considered at all is an even bitterer pill to swallow. You got them, but not at all in the way you did. But I would say to enjoy them as they are, hope for better next time - after all, thereâve been more than a few characters who got promoted - but also be excited about who else weâre going to get. There are always great possible characters around the corner, and some may be exciting or cool in a way you didnât expect.
(Link to my writings on Super Smash Bros. Ultimate)
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November 14: Smashing the Wait: Gravity Falls
Writing about something that isnât Smash might seem odd, but thatâs how we roll here. Besides, this is POST #200! After months and months, Iâve managed to finally hit that milestone. Anyway, as with last time, weâll be back to regular business tomorrow.
Sent there with his sister for their summer vacation, the sleepy backwoods town of Gravity Falls, Oregon seems a bit...off to nebbish pre-teen Dipper Pines (Jason Ritter). Theyâll be living with their sleazy great-uncle Stan (series creator Alex Hirsch), an aging con artist whose lifeâs work is a museum of fake curios and even more fake cryptids called the Mystery Shack. And while it doesnât stem from nonsense like the âSascrotchâ or âSix Pack oâ Lope,â the town itself has an undeniable aura of darkness. Sure, Dipperâs hyperactive twin Mabel (Kristen Schaal) has taken to the nature well, Stanâs handyman Soos (Hirsch) is wonderful, and cute retail worker Wendy (Linda Cardellini) is super cool. But the town is filled with frightful noises, graffiti and markings of eyes or symbols, and shadows of things that should not be. At the very least, that mailman has to be a werewolf.
Itâs only natural that Dipper stumbles onto a bizarre journal hidden in a secret stash. Itâs his own Dungeons & Dragons monster manual, with mysterious notes cataloging unicorns, gnomes, zombies, leprecorns, flying eyeballs, even Bat Boy from Weekly World News. Its unknown author also makes clear one thing: in Gravity Falls, there are legitimate dark forces at work, and there is no one you can trust to not be part of that. But Dipper and Mabel's âmystery twinsâ bond wonât be broken so easily, and they start working together to discover the secrets behind this Podunk village - though not before enjoying the arcade and pool, watching incomprehensible informercials, and getting mixed up with the townâs absurd personalities. Theyâre still on summer break, after all, with new friends to make, romances to have, and capers to pull off.
At first glance, Gravity Falls is a fairly obvious kid-friendly love letter to two of my absolute favorite shows. The Twin Peaks element is fairly huge. Thereâs a small town in the Pacific Northwest filled with eccentrics, a bunch of mysteries that run the gamut from silly to horrifying, and even an TV show that acts as a Greek chorus for the actual story (in Twin Peaks it was Invitation to Love; Gravity Falls has Ducktective). And itâs just as clearly based on The X-Files, which also drew from Peaks. The world is one where any stretch of woods could be home to all manner of wonderful and terrible things, creatures that can only live just on the outskirts of the imagination. It even reuses on of that showâs most iconic lines, âtrust no one,â to describe the web of conspiracy and threat which slowly surrounds the kids. So just on that note, it definitely pushes my buttons.*
* Side note: I canât imagine Iâll get to either of them for an actual post, but do also watch Twin Peaks and The X-Files. Theyâre both excellent.
But the show is so much more than that - and more than its references to other things Alex Hirsch likes (amongst them video games, tabletop RPGs, pinball, elaborate puzzles, 1980s pop songs and adventure movies, body horror, rap songs that invent new words, and painfully bad puns). Itâs also an ode to the experience of being on vacation as a kid, of exploring someplace a bit out there from civilization. The unknown can be exciting and fun in a way thatâs harder to feel when youâre older, and the idea that anything can happen off the beaten trail is intoxicating. Plus, thereâs that sense of fleeting abandon; after all, itâll all be over soon, so why not go crazy? That childhood perspective is especially valuable, and it allows the show its breadth of tone. Living Street Fighter shotoclones and a race of hyper-masculine âmanotaursâ comfortably exist in the same story as Eldritch behemoths and multi-generation tragedies, because they all come from the perspective of two kids discovering these for themselves. Its damn fine cast is part of that, as is the great writing and gorgeous animation (courtesy of that sweet, sexy Disney moolah). But I think its wedding of flighty, silly kidsâ adventures to older horror and pain is the center of what makes it work so well.
Why should Super Smash Bros. fans watch it? âRidley in the clouds.â âA photoshopped Little Mac.â Nonexistent radio interviews. Smash fans love ourselves conspiracies, hoaxes, tricks, and leaks. Itâs a part of the process inexorable for fans, and those who try to avoid them find it incredibly difficult. We place a lot of stock in them, and I think looking at a silly show about wild hoaxes might be a good way to take them into perspective. Sometimes, a wild rumor isnât more than a rock that looks like a face. This isnât to say itâs bad to enjoy them or want them true, but maybe itâs alright to treat them with a bit more levity. Sometimes, a low resolution photo isnât any more than a âthighclops,â and thatâs okay! Itâs even worth celebrating.
Gravity Falls might also be valuable by being a kidsâ show that doesnât shy away from darker or older topics. Itâs a story about youth, but - like EarthBound in a way - itâs also a story about the bittersweet pains of slowly leaving childhood. The eye of Smash looks at a wide range of players and fans. There are people far my senior and kids far my junior who all like it, and who got into it in a myriad of ways. But I think it might be good to occasionally look at the game from the latter perspective. A lot of younger and newer players might not feel the weight of decades of gaming history, seeing it as âjustâ a game. For all that Sakurai looks to history, this series is always a fun fighting game first and foremost; the seriesâ themes and artistic ambitions come from the play just as much than they do from any trophy or spirit. Itâs sometimes good to go back a bit, and enjoy the game with that perspective.
(Link to my writings on Super Smash Bros. Ultimate)
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November 13: Smash DLC Part 2: the Goals
So in Part One, we set up the rules surrounding the upcoming wave of Smash Bros. Ultimate downloadable content. For this installment, letâs talk about the whole reason for DLC. Because thatâs what this is all about, and itâs useful considering why it even happens (on a more detailed level than just a desire for game companies to get more from their game sales).
At its most basic, DLC exists to extend the life of a game, in any capacity. Theoretically, it lets a game live on and stay in the spotlight for longer after release, turns an already purchased product into a new stream of revenue, and supports a good game in ways that make it better. To those ends, all content added post-launch, free or paid, is designed to support at least one of three main categories (though I might have missed one):
Bringing in new players. Of course, you want additions that make the game more appealing for the otherwise uninitiated. This is where the third parties shined, as they hopefully brought in players who otherwise wouldnât be as interested in a Nintendo crossover.
Exploring ideas that couldnât be in the original game. Corrin was in a game that hadnât come out yet, Mario Maker was a game that hadnât come out yet, Ryu used complicated command inputs, and Miiverse likely couldnât be implemented until after launch. Some content isnât possible due to time limits, rights negotiations, or the ability to explore certain kinds of mechanics; this allows it to be be added.
Keeping or attracting already invested players. Essentially, catering to what the fans want, though almost all DLC theoretically falls under this. While all newcomers count, in this case I think itâs most pronounced for the veteran fighters or returning stages longtime fans already know and love. It doesnât always involve nostalgia, but in Smash thatâd presumably be where itâs greatest. Though at least when it comes to characters, thatâs clearly not an avenue Nintendo and Sakurai can use.
Now itâs worth noting that itâs rare for individual pieces of content to be just one thing. You can advertise new games that are already huge and exciting in their own right, bring back a beloved feature with many new twists, or any number of other things. Ryu, for instance, really hit all three: heâs a huge gaming icon, the kind of character who couldnât really exist then, and was well liked by the fans. Certainly anything positive will be meant to appeal to current owners of the game, as it just adds more (or improves what is already there in the case of balancing or bug patches).
However, this being a crossover for a games corporation makes this a bit different, which is why thereâs a fourth category Iâm including - though at first, it seems similar to Reasons #1 and 2.
Advertising other games. This isnât just Smash that does it (look at most Blizzard games, for instance), but this is a fundamental part of DLC in a game like it. And while Sakurai did this too - hence Corrin and the Mario Maker stage - the general fan assumption is that this will be the part emphasized the most for the Fighters Pass.
We know there are a number of games down the pipe in the next year or two: Metroid Prime, Luigiâs Mansion, Animal Crossing, PokĂ©mon Gen VIII, Fire Emblem, and other projects like Town. Weâll probably go over it the in the future, but I think itâs fair to assume a strong interest on Nintendoâs part in referencing their new and upcoming games through DLC. It is, after all, what they did for Mario Kart 8 Deluxe, Mario Maker, and re-releases of games like Captain Toad. Oneâs pattern recognition skills need not be unrefined for the possibility of this to seem clear.
But this fourth point is worth differentiating from the others because advertising a new game may not come from a new fighter. If, letâs say, there was a new Donkey Kong Country down the line, they could advertise Dixie and a stage from the new game instead of a new character. This seems really simple and basic, I know, but itâs something we often fail to consider when thinking about promotional fighters. I mean, look at how Mario Tennis Aces mostly ignored newer characters for both its original roster and DLC selections; it didnât get Pauline or a Broodal or whatever, but instead Blooper and Petey Piranha. And that also means that there will potentially be a much larger pool from which to draw for new characters.
Of course, this is all from assuming that every character will have been chosen primarily to advertise new games. While I think that will be a big part of this, expecting that to be the only goal is likely a fallacy. Nintendo will probably want its new fighters to fill a number of roles, so donât expect them all to be cut from the same cloth.
Well, that was looking at the nature of DLC itself. Next time, letâs think about âbalance,â and how much or little Nintendo may care about general balancing amongst the various series already represented.
(Link to my writings on Super Smash Bros. Ultimate)
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November 11: On Non-Gaming Characters
The Smash community has been in a bit of a tizzy today over a ânewâ quote from Sakurai explicitly claiming that no âmanga charactersâ - i.e. non-gaming characters - would make it into Smash. While the quote itself is actually over a decade old, it mimics a stance he has maintained since the series started including fighters not from Nintendo. Iâve no interest in debating more minor details (yes, Batman and Goku have gaming history, but you know itâs not the same thing), because itâs really not likely to happen. Instead, I think it might be good to actually dive into why Sakurai might be opposed to the concept.
Well, first off, letâs think about the limitations of adding characters from other companies at all. Smash is almost certainly a legal nightmare at times, as itâs a collaboration between Nintendo, HAL (albeit to a much lesser extent now), all its other subsidiaries, third party companies, and when possible the creators of those games. Sakurai carries a clout and respect in the Japanese games industry, but heâs still bound by corporate politics and limitations. Because of that, characters need to be wanted by all involved parties. Itâs a big part of why the Mii Fighters were both so big and so difficult to develop; Nintendo had to make sure they were not exploiting other companiesâ IP (or allowing players to bully real life people). Notably, in the linked article, he explicitly posits non-gaming characters as an uncrossable barrier - maybe partially because itâs more difficult when the companies lack the history Nintendo has with various other studios.
But itâs more than just legal issues; heâs openly joked about the idea. In a 2015 video interview, he mocked Goku and Spongebob as examples of impossible characters. Heâs often not given explicit reasons for why he wonât include non-gaming characters, often writing it off directly as an impossibility he wonât even consider, but regardless thereâs something stopping Sakurai. And I think have an inkling of an idea.
So the whole âNintendo compendiumâ part of Smash wasnât part of Sakuraiâs original vision; it was just about using the iconography and design of Nintendo characters to get across the silly, accessible fighting party game he imagined. It was Melee that introduced (and along with Brawl, codified) the idea of the series as an interactive library and celebration, that there were Nintendo characters fighting on Nintendo worlds set to Nintendo music while collecting Nintendo ephemera. Then, Brawl expanded that; it was still that same library, but one that made room for other companiesâ contributions. After all, Nintendo isnât just itself. Konami, Capcom, Namco, and others were and are instrumental to its identity. Itâs sort of like how Sakuraiâs beloved Star Wars wouldnât be Star Wars without all of George Lucasâ various cultural fetishes.
On a fundamental level, I strongly believe adding a fighter who did not come from a video game would run a serious risk of diluting the ethos of Smash. Because after that point, thereâs no going back. Weâd be debating whether itâs more important to get Dana Scully or Koro-sensei or Ash from Evil Dead or Black Dynamite or whoever, and that emphasis on Nintendoâs history would rapidly decline. In general, I strongly dislike these kinds of âslippery slopeâ arguments in both Smash and life, but this series really is more than just a great gameplay system and a massive pile of content. Itâs about using the values of Nintendoâs best games - accessibility, ease of play, a strong and inclusive difficulty curve, memorable icons, great music, that quintessential sense of your game having the right feel - to make (what was in 1999) a new kind of fighting game. That focus on being a âNintendo game,â and a âgame about Nintendo,â through and through has always been central to Smash, even in the first game.
The novelty of a non-gaming character wouldnât add to that symbolism, nor would it represent that rich history in any way. And to once again employ an argument I typically hate, they would paradoxically make the potential of future newcomers less interesting. For all that Snake was a weird choice (and not chosen for his Nintendo bona fides), he still carried a part of that history, in just the way Mega Man did or Bayonetta would. For all that Piranha Plant is âjustâ a generic enemy, itâs both legitimately world renowned and a central figure in the most important game in Nintendoâs history. Without any of that sense of connection, the power and mystique we get with each newcomer wouldnât really be possible anymore. And the actual imagery and energy we have would become lesser. Itâd look more like some crappy Ernest Cline book, playing haphazardly with so many toys that the core would slowly collapse.
To put it in more basic terms, non-gaming characters would ultimately add less than they would remove, and theyâre ultimately not about the company that is at the center of the seriesâ identity. Putting aside the existing legal issues, that would be a genuine problem. But in some ways, I think Sakuraiâs real justification is simpler: they ultimately have nothing to do with Nintendo, so thereâs no reason for them to be in a game about Nintendo. Given his professional devotion to the company, I think that concern deserves to be taken seriously, if not something with which players should feel forced to agree. I know a lot of fans love Smash but donât really care about that historical side of it, or feel like certain characters are cool enough for those issues to be an acceptable tradeoff. But Sakuraiâs held onto this position while switching others for a long time, and there are serious reasons for it. The strength of that deserves to be respected as more than a flippant choice.
(Link to my writings on Super Smash Bros. Ultimate)
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November 10: Yes, NOW Letâs Talk about Ultimate DLC (Part 1)
Well, itâs been four months since my request that we not discuss future downloadable content for a game so far from release, and things have pretty definitively changed since E3. The gameâs out in a month, we know every fighter (and stage, Assist Trophy, PokĂ© Ball PokĂ©mon, and probably stage hazard), and most importantly, DLC has actually been confirmed. Itâs not at all a surprise Sakurai and Nintendo would bring it back, but I did feel that debating DLC then would kind of devalue the game weâre about to get. But my concerns have been put to rest, so letâs have at it.
When I was planning a prospective version of this post in my head on November 1st, I was flooded with ideas. Weâd talk about Sakuraiâs interests, how thereâs almost certainly be two or three third parties, which future releases would make the most sense to add a new fighter, and other new content. I had multiple lists mapped out and everything. And then this dropped:
Now, thereâs rarely need to throw the baby out with the bathwater, and letâs make a few disclaimers. As much as Iâve been in the tank for Sakurai, thereâs nothing wrong with letting Nintendo have a turn of the wheel. After all, heâll still be the one actually designing them so they should be fine mechanically, and it is exciting seeing someone making the choice. And while we may not get out there options like Cloud, thatâs okay; itâs not implausible weâd get at least one more shocker. A lot of the stuff Iâll be discussing would still have been applicable to a discussion where Sakurai was the one picking them. Plus, weâve had only one prior run of DLC to go on, and given three of the seven picked were veterans weâre still in new territory. But Nintendo coming up with them does make things different.
I put it in the title, but this is going to be a part one (and of however many parts, Iâm not sure). Itâs just a lot to discuss, and thereâs only so much time before this would start to get insulting in its length. So weâll bring up two separate sections for this. Tonight, letâs just go over the main points.
All five fighters have already been selected. Weâre not doing anything like the ballot, so while speculation and hopes are great, campaigns for characters arenât going anywhere.
More to the point, they were all selected by Nintendo, not Sakurai. Though I imagine he decided which stage would be designed with them.
Sakurai did, however, have a veto power over the characters they chose. We do not know if he used it.
This also means that any and all third party negotiation rights have already concluded. This could make it easier or harder for some third party games or characters, depending on when negotiations started.
Until Sakurai specifies, we donât know if Piranha Plant was suggested by Nintendo or chosen by him. Iâm personally very interested to find that out.
Sakuraiâs typical argument, one I find fair, is that non-playable characters who are already part of the battle - i.e. Assist Trophies - are disqualified. While anything can happen, the smart assumption to make is that he and Nintendo will instead look to other characters. As frustrating as it can be to have your favorite fighter in a limited position in the battle, do take heart in the wide range of great possibles we have.
It does not, however, disconfirm Spirits, who are numerous in number and already represent characters who are fighters. To put it another way, Spring Man may be out, but another ARMSÂ character could potentially be in.
So thatâs not much to go on, but weâll be building on it. Itâll be good to think back to these basics, especially as we go forward. But there is one last note Iâd like to go out on, and that is that Piranha Plant âstoleâ no oneâs âslot,â whether they were in the game or not.. The character was almost certainly added late in development, well after the roster and various assist characters had been chosen. I also suspect it was chosen specifically to be an easily added fighter - one also recognizable across the gaming world - who would work as a safe, small bonus.
Sorry for this being somewhat anticlimactic; I just want to go over it slowly. And, well, Tumblr isnât letting me include any images after a point, so itâs better to keep this short. Also, I would really love your own interpretations on this new wave of DLC as we discuss it before (or after, though Iâll be less communicative) the gameâs launch.
(Link to my writings on Super Smash Bros. Ultimate)
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