Some Thoughts on Paper Mario: The Thousand-Year Door

Some odd years ago I posted more than a few thoughts on my both a brief history of the Paper Mario series and my general dissatisfaction with the recent games and where the series was going. I wrote about how much I disliked that the games dumbed down not only the immersive quality of its RPG gameplay but everything about characterization and plot. That gimmicks took the place of strategy and bad executive decisions cut storytelling potential at the knees. I’ll be honest, I didn’t expect things to get better and any future praises or accolades could be summed up as, “Well, at least it’s better than Sticker Star.”

Then everything changed, with the release of one remake.

Yes, the remake of Super Mario RPG by ArtePiazza from last year sent a wave of wonder throughout the Nintendo fandom. If this mostly ignored relic of the Super Nintendo era could get a fully remastered, new moves, new graphics, new everything kind of remake what about more popular games? Could they get the same treatment?

We didn’t need to wait long for that answer.

So that brings us to The Thousand-Year Door, now originally I was going to give myself a week so that I could complete the game and post all my thoughts, however between other complications and the simple fact that I am a slow and deliberate gamer, I decided to instead focus on what it’s like playing this and how I feel about this remake.

To start things off, there’s a couple things I’m not crazy on: one is the overall darker look, not the tone, I mean the actual lack of light in some cases. I get that some areas are underground and parts of Rogueport are meant to have a seedy look to them, but at times it feels like I have strain to see some of the vividly detailed background that was so much clearer in 2004.

Speaking of visuals, it’s taken a page from newer games like The Origami King and made most of the world resemble an arts and crafts project, really emphasizing the “Paper” part of the title. Ordinarily I wouldn’t mind, but as I’ve mentioned before that this crafted look makes it feel less like it’s taking place in the Mushroom Kingdom and more like a fictionalized world within the Mushroom Kingdom. Emphasizing the non-canon nature by making it look off-putting.

However, these are all minor nitpicks in the grand scheme of things, minor bits that just stand out to me and aren’t really worth the effort of getting upset over. Even the lower framerate that every critique and review has brought up is merely a little bump in the development road. And one thing can be said about this game’s development is that it is a labor of love. Every bit of music updated, jokes and clever writing preserved, even the tedious bits of backtracking have been reduced. Make no mistake, the team behind this remake loved the original as much as we did and the painstaking process of updating the game but still remaining true to its roots is on full display. From the major changes like adding an easier form of fast travel in the central hub to little things like updating the title screen every time a new partner is added the party.

I worried a lot about the future of Paper Mario and I can’t say those fears have gone away though they’ve certainly lessened to a degree after seeing early sales reports. But I do feel hopeful that the games will progress from the low-quality dip that hit back in 2012. And a portion of this comes from one of the most popular characters to come out of this game.

For those who might not be aware, Vivian (pictured above) was originally written as a trans woman in the initial release, but not in the North American and German localization where she was written as just female. Considering the hot-button issues still going on with trans both fictional and in real life, this was a surprising but truly welcome thing to see. If the game is willing to rectify past exclusions rather than keep it the same for the sake of “that’s how it was when it first came out” then who knows what other forms of progress can be made? Progress where no one feels excluded and can find representation in gaming.

In short, I’m positively delighted that this game exists and I’m glad a new generation will be able to experience the adventures of Mario and his friends in one of his greatest tales ever told.

Season Review: X-Men ’97

Ask the average Millennial what their first exposure to the X-Men franchise was and chances are you’ll one of two options: The Bryan Singer film from 2000 or the animated series from Fox Kids back in 1992. Despite being firmly entrenched in the 90’s, the lack of budget for the animation (a problem that showed up across the series) and some frankly hammy performances from the voice actors the series is still highly regarded among fans. Drawing from a combination of Chris Claremont’s acclaimed run on the comic with some influence from Jim Lee’s work, the show set the standard for adapting comic books that was never matched by Fox’s series of live-action films. There was humor, drama, adventure, romance and even with the more hammy or outlandish performances you can bet that Canada’s voice talents of the era were giving it their all. And the opening theme song was nothing but pure hype.

So when it was announced that the series would continue suffice to say, excitement was high.

Set one year after the series finale and the attempted assassination of Professor Xavier and his departure with Lillandra to the Shi’ar. Unknown to the public, he’s declared legally dead and a wave of goodwill for mutantkind has spread as a result. In the meantime, the X-Men continue to stand against hatred and bigotry and Scott and Jean prepare for the birth of their child. However things are soon thrown into chaos with the resurgence of extremist groups like the Friends of Humanity sporting new and dangerous weapons. The return of long-time adversary Magneto with the will and testament of Professor Xavier. And new, sinister forces from old foes emerge from the shadows, and not even the X-Men may be able to stop the coming onslaught.

Warning: Spoilers are to follow:

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Series Review: Shōgun

The miniseries is a fascinating piece of media, allotted more budget for production and the cast than the average television series but not as much as the average major film release. Created like a television series but with a self-contained story and with no intent of creating a second season; a beginning, middle, and end was created and that’s the whole of it. And from the 70’s all the way to the early 2000’s some miniseries have become important parts of television history and helped launch a fair share of careers. In 1980, an adaptation of the James Clavell novel Shōgun captured America audiences; starring Richard Chamberlain and Toshiro Mifune it became one of the most famous miniseries ever made…In America at least, in Japan views were a bit more mixed. Which brings us to this remake.

Shōgun is the latest miniseries from FX and was created by Rachel Kondo and Justin Marks. Based on the novel, its story is a fictionalized tale of the life of William Adams, an English navigator who came to Japan and ended up serving as an advisor of Ieyasu Tokugawa, becoming one of the few non-Japanese to become samurai. The series stars Hiroyuki Sanada (who also acted as a producer) as Lord Yoshii Toranaga, Cosmo Jarvis as John Blackthorne, Anna Sawai as Lady Mariko, Moeka Hoshi as Fuji Usami, Tadanobu Asano as Lord Yabushige, Takehiro Hira as Lord Ishido, Néstor Carbonell as Rodrigues, Tommy Bastow as Father Martin Alvito and Fumi Nikaidō as Ochiba no Kata.

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Season Review: Avatar: The Last Airbender

Avatar: The Last Airbender by Michael Dante DiMartino and Bryan Konietzko was very much a lightning in a bottle piece of animation. A sixty-one episode action/comedy/drama series made before tight-fisted studios began slashing budgets, or action-based series were cancelled in favor of shorter eleven minute segment shows. It was a show that not only perfectly balanced each of its action, comedy, and drama, but one with a fully realized world and lore that not even modern shows or fantasy novels can pull off. The result? A massive fanbase that still continues on even after the series ended in 2008. A sequel series, comics that expanded the main cast’s story, full on novels, games, etc. Performances that launched numerous voice actor’s careers into the big leagues and gave the late, great Mako Iwamatsu one of the best performances in his long career. And one of Nickelodeon’s most critically acclaimed programs in its continuing history.

Sadly it also came with more than a fair share of problems too. Most infamous was M. Night Shyamalan’s live-action adaptation Last Airbender which has gone down as one of the worst adaptations ever made and indeed, one of the worst films ever made. Since then, there’s been a lot of buzz about whether it’s a series that needs any adaptations or expansions at all. Some wanting to see more from their favorite franchise and others who just want it to be left alone. Which brings us to Netflix’s attempt.

Avatar: The Last Airbender is the latest live-action adaptation from Netflix and overseen by Albert Kim and formerly the original series creators Michael Dante DiMartino and Bryan Konietzko. It stars Gordon Cormier as Aang, Kiawentiio as Katara, Ian Ousley as Sokka, Dallas Liu as Prince Zuko, Paul Sun-Hyung Lee as Uncle Iroh, Matthew Yang King as Appa and Momo, Elizabeth Yu as Princess Azula, Mariah Zhang as Suki, Ken Leung as Admiral Zhao, Amber Midthunder as Princess Yue, with James Sie reprising his role as the Cabbage Merchant and Daniel Dae Kim as Fire Lord Ozai.

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Season Review: Hazbin Hotel

Hazbin Hotel is the new animated musical series from A24 and Amazon Prime and based on the 2019 Youtube pilot of the same name by Vivienne “VivziePop” Medrano. It stars Erika Henningsen as Charlie Morningstar, Stephanie Beatriz as Vaggie, Amir Talai as Alastor, Blake Roman as Angle Dust, Kimiko Glenn as Nifty, Keith David as Husk with Krystina Alabado as Cherri Bomb and Alex Brightman as Sir Pentious and Adam. The cast also includes Jessica Vosk, Christian Borle, Lilli Cooper, Joel Perez, Leslie Rodriguez Kritzer, Daphne Rubin-Vega, Sarah Stiles, Leslie Kritzer, Darren Criss, Patina Miller, Shoba Narayan with James Monroe Iglehart and Jeremy Jordan.

Picking up fairly closely to where the pilot left off, Hell is overpopulated with damned souls so an annual purge is enacted by a band of angels known as Exterminators to quell the numbers. Charlie Morningstar, the daughter of the first fallen angel and human, wants a more humane way of reducing the populace and opens up a hotel with the explicit plan of redeeming the sinners until they’re worthy of heaven. This is easier said than done as she’s faced with the dickishness of demons who scoff at betterment and the dickishness of the Exterminators who treat their crusade not as a necessary evil but an excuse to go on a murderous rampage.

Despite this, Charlie remains a hopeful optimist thanks in part by the support of her girlfriend, the support of her staff (whether willingly or not), and her belief in the dream of redemption. And she’ll need that support as the angelic powers have their own hidden agenda, the overlords of Hell plot and scheme against heaven and each other, and even her own patron has sinister ideas for the hotel.

Warning: The following review will contain Spoilers and material unsuitable for certain readers.

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Season Review: Scott Pilgrim Takes Off

First published in the early 2000’s, Bryan Lee O’Malley’s graphic novel series Scott Pilgrim hit the unique target niche in the market of indie comics. Detailing the life and bizarre adventures of Scott Pilgrim (age 23), a slacker from Toronto who must navigate the hurdles of relationship drama and 7 Evil Exes if he hopes to date the mysterious and alluring Ramona Flowers. Easy enough, after all Scott is the best fighter in the province. But the real battle between Scott and Ramona’s personal demons, a self-serving memory, and his whole feelings of inadequacy complicates things to an insane degree.

Like I said, it hit a unique target. The comic’s distinct humor, absurd premise, and anime and video game influences made it a surprisingly popular series and engrained itself into the Millennial geek zeitgeist. So much so that a movie adaptation helmed by the equally popular comedy director Edgar Wright was made before the comic was even finished. And while not the most faithful of adaptations it has remained a cult classic even as hipster tastes and Michael Cera’s usual schtick have faded away.

So how does the second adaptation fare?

Warning: Spoilers Are to Follow

Scott Pilgrim Takes Off begins as a relatively basic adaptation, boy meets girl, boy is already kinda dating another girl, girl is revealed to have seven exes who all want to kill boy for dating girl, and boy must defeat them in order to date girl.

So when our main hero seemingly dies in the very first boss fight things go wildly off the rails.

The series, as created by Bryan Lee O’Malley and BenDavid Grabinski, acts as sort of a middle ground between the original comic and the film adaptation while still acting as its own original story. It’s frankly amazing that nearly all the cast from the film was here to reprise their roles in voice over (even getting the band Metric back), especially since so many of them have had major boosts to their career since then. Also impressive is the animation from Science Saru which not only perfectly captures O’Malley’s distinctive style (with several moments from the first episode looking like the jumped right from the panel) but the excellent switches from more traditional anime style and 16 bit video games.

But most impressively of all is the decision to make this so very un-Scott Pilgrim like. It should come to no surprise that many things and story elements became dated. Whether it was the original intention or not, the comic series shows that the “nice guy” character type more often than not, wasn’t quite as nice they appear. The quest for dating a girl he barely knows comes off as stalker-ish and doing so while kinda seeing a high schooler makes him come off as a creep. Ramona’s number of exes and how she broke things off with them is examined and demonstrates how destructive her past has been with other people. And with Scott out of the picture the critical lens is turned on the Seven Evil Exes, their flaws reflected upon themselves and how they fell from grace. How many of them are committed to their evil image when there isn’t a hero for them to challenge and how many of them can keep up the self-destructive personality traits that drove them to this point in the first place. By the end of the series when Scott has returned and the villains are no longer proper villains the only thing left is to confront the possible future he has. One where he’s long since given up on growing up, where everyone has moved past him, someone who never took off and still tries to drag everyone down.

Scott Pilgrim Takes Off isn’t a faithful adaptation of the comic and despite its early bait-and-switch really isn’t trying to be one. While some may take umbrage with that, I’m actually rather pleased. Not just in the technical side of how well done the animation is, nor the chance to see actors like Chris Evans, Brandon Routh or Mae Whitman go even further ham than they did in live-action. But that it takes a certain level of maturity for creators and artists to look back and recognize the flaws of their work. And it takes a certain amount of skill to stay true to the great elements of that work even as it’s reinvented. While I certainly would’ve liked a true adaptation something about this series warms my heart. Knowing that in the end lovers, friends, acquaintances and exes are better people than they were yesterday.

New In Review: Knock Knock, Open Wide

Up the airy mountain,
Down the rushy glen,
We daren’t go a-hunting
For fear of little men…

There’s an old Irish tale about a scholar travelling down the road when he finds a dead body laying beside it. Not wanting to leave it there, he resolves to take it with him and bury it properly only to find that the corpse can speak with him and advises him to stop at the home of a farmer and his wife. But to his horror, the corpse had planned this very thing and once the scholar learns that the dead body has lain with the farmer’s wife and he flees. From there the tale shifts to the child of this unholy union as he enters the priesthood and searches for a means to avoid damnation.

Knock Knock, Open Wide isn’t the story of the priest, it’s the story of the poor scholar who finds that the speaking corpse isn’t done tormenting him.

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New in Review: Ahsoka

Ahsoka is the latest Star Wars series from Disney+. Created by longtime Star Wars creator Dave Feloni, it stars Rosario Dawson in the title role. It also stars Natasha Liu Bordizzo as Sabine Wren, Eman Esfandi as Ezra Bridger, Mary Elizabeth Winstead as Hera Syndulla, David Tennant as Huyang, Diana Lee Inosanto as Morgan Elsbeth, Genevieve O’Reilly as Mon Mothma. It also features Ivanna Sakhno, Paul Darnell, Paul Sun Hyung Lee, Evan Whitten, Ariana Greenblatt, Nelson Lee, Wes Chatham, Claudia Black, Jeryl Prescott Gallien, Jane Edwina Seymour, with Hayden Christiansen, Lars Mikkelsen as Grand Admiral Thrawn and Ray Stevenson as Baylan Skoll.

Set following the end of both The Mandalorian and the epilogue of Rebels, it revolves around the former Jedi Ahsoka Tano and crew members of the Ghost searching for a means to find their lost crew member Ezra Bridger who sacrificed himself to remove Thrawn from the known galaxy. But agents of the Imperial Remnant including a mysterious fallen Jedi and his apprentice are also searching for a means to find him and whoever gets there first may avert a war or create a new one.

Warning: Spoilers are to Follow.

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New in Review: My Adventures With Superman

Created by Jake Wyatt and animated by Studio Mir, My Adventures With Superman is the latest animated DC series and latest from Adult Swim. The series stars Jack Quaid as the the titular Man of Steel, Alice Lee as Lois Lane and Ishmel Sahid as Jimmy Olsen. It also features Darrell Brown, Azuri Hardy-Jones, Scott Reid, Kari Wahlgren, Zehra Fazal, Jake Green, Catherine Taber, Lucas Gabreel, Vincent Tong, Chris Parnell, Max Mittelman, with Debra Wilson and Joel de la Fuente.

Clark Kent alongside his roommate Jimmy Olsen and crush Lois Lane are the newest interns Metropolis’ Daily Planet newspaper. Clark hopes for a relatively normal life are complicated by the eager go-getting of Lois, the conspiracy-snooping of Jimmy, and the mysteries of his own burgeoning superpowers. Donning the cape of Superman he strives to do right for his city but things are complicated by a sudden influx dangerous new technology and shadowy forces out to destroy him for reasons unknown.

Warning: Spoilers will follow.

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Season Review: The Witcher Season 3

The Witcher returns for its third season and sees the return of Henry Cavill as Geralt, Anya Chalotra as Yennefer, Freya Allan Cirilla and Joey Batey as Jaskier. It also features MyAnna Buring, Mimi Ndiweni, Eamon Farren, Anna Shaffer, Royce Pierreson, Ed Birch, Hugh Skinner, Simson, Tom Canton, Sam Woolf, Aisha Fabienne Ross, Mahesh Jadu, Wilson Mbomio, Jeremy Crawford with Graham McTavish, Bart Edwards and Lars Mikkelsen.

Picking up after the second season, the combined forces of Geralt and Yennefer having managed to keep their ward Ciri from the Deathless Mother and the Wild Hunt. Now acting as a slightly dysfunctional but still close family unit, the three of them train, learn and try to stay ahead of those hunting Ciri. Easier said than done as kingdoms of the North, the Brotherhood of Sorcerers and the Nilfgaard-Elvish alliance all want her for their own ends.

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