Mega Man X (Super Nintendo)

As 1993 drew to a close, Super Nintendo owners everywhere were wondering one thing: Where was Mega Man? The previous two years had seen Super Mario Bros., The Legend of Zelda, Castlevania, Final Fantasy, and numerous other high-profile gaming properties with 8-bit roots make the leap to Nintendo’s 16-bit powerhouse. The absence of Capcom’s super fighting cash cow, already a six-time headliner on the NES, was positively glaring. Finally, December brought with it the Japanese release of Rockman X, predictably retitled Mega Man X for its North American rollout the following month. Whatever Capcom had been waiting for, it was worth it. This spin-off was destined to become one of the system’s most revered games, not to mention one of the brightest stars in the galaxy that is the extended Mega Man franchise.

But why? At first glance, it may not be obvious what the big deal is. The broad strokes of Mega Man X’s storyline and structure seem entirely in keeping with the blueprint established by the NES hexalogy. Robots are running amok at the behest of an evil mastermind? Check. Stopping them involves defeating eight boss robots in the order of your choice, followed by an assault on the mastermind’s lair? Check. Overcoming each of the initial eight bosses equips you with a new special weapon that one of the others is weak to? Check. In truth, Mega Man X’s overwhelming success is a rare testament to the power of just a few carefully chosen artistic and mechanical tweaks to radically reinvigorate a stale formula.

Set around a century after the events of the main series (or classic series, as it subsequently became known), Mega Man X follows the exploits of its eponymous robot hero. Archeologists stumble upon X, the final and greatest creation of the late Dr. Light, sealed in a capsule and use his design as the basis for a new breed of fully sentient robots, the Reploids. Unfortunately, some Reploids turn against humanity and are dubbed Mavericks. The newly-reactivated X now works as a Maverick Hunter, mentored by his more experienced partner, a too-cool-for-school brooding loner type by the name of Zero. The duo’s latest assignment is to locate and defeat Sigma, leader of the Mavericks and a former Maverick Hunter himself.

The new setting and characters are the first crucial things the developers nailed. Mega Man X clearly set out to be a more mature take on the googly-eye cartoon robot bashing of the mainline titles. You need look no further than the design of X himself for proof of that. He’s noticeably taller, leaner, and more chiseled than his childlike NES ancestor. By story’s end, he’ll also experience more in the way of loss than classic Mega Man ever did. Despite this trend, Capcom wisely refrained from going overboard. X’s journey is still one defined by bright colors, driving rock music, and brisk jump-and-shoot violence of the 100% robot-on-robot variety. Nothing about it comes across gratuitously angsty or overwrought. To put it one way, it’s a tad too serious for X to have a cute robo-dog sidekick like Rush, yet not so serious that he can’t do battle with a mechanized penguin who belly flops around the arena. A fine line indeed.

On the gameplay front, a pair of inspired additions to X’s movement are responsible for much of the improved feel. He can cling to walls as well as execute a speedy forward dash that effectively replaces the ground slide from older games. The importance of the dash in particular can’t be overstated. It can be canceled into a forward jump at any time, even coming off a wall, and these mighty lunges cover more space more quickly than standard running jumps. Dash-jumping through a stage at breakneck pace is a real thrill and the maneuver also has no end of utility in the boss fights.

Complimenting this faster movement is the game engine’s ability to smoothly scroll the screen in all directions. Screens in classic Mega Man games always scrolled horizontally or vertically, never both at once (i.e. diagonally). Furthermore, vertical advancement was strictly of the all-or-nothing flip-screen variety. Combining this newly unrestricted scrolling with the wide open layouts of Launch Octopus or Storm Eagle’s stages and the aforementioned dash-jump, X can literally soar. It’s another exhilarating experience with no parallel in prior entries.

A final key strength of Mega Man X is its stunning presentation. I’m not merely referring to the usual high quality Capcom audiovisuals here, although the sprites, backgrounds, and energetic synth guitar-driven soundtrack are all rightfully iconic. I’m talking about the extraordinary amount of care that went into making the game’s world feel more like one concrete, interconnected place than a chain of isolated stages. Defeat Chill Penguin and the perilous lava which normally fills Flame Mammoth’s lair with be extinguished. Taking down Storm Eagle interrupts the power supply to Spark Mandrill’s level, subjecting it to periodic blackouts and weakening its mid-boss. These nifty interactions aren’t limited to the locations, either. The Boomerang Cutter can actually sever Flame Mammoth’s trunk, depriving him of one of his primary attacks. This uncommon attention to detail is simply a joy to behold throughout. Heck, I didn’t even notice until my most recent playthrough that one solitary bat enemy out of the dozens haunting Armored Armadillo’s mine is based on the original NES design. It’s the little things, you know?

Much as I endeavor to avoid total puff piece reviews, I struggle to dredge up anything meaningfully negative to say about Mega Man X. You’ll run into plenty of the old Super Nintendo slowdown when things get hectic, sure, but beyond that I’d really have to force it. This first X game is an all-around masterpiece, one of the best of its generation. By starting with a tried-and-tested action-platforming template and infusing it with memorable new characters, snappier movement, and a presentation to die for, Capcom produced the first true creative landmark in the saga since 1988’s Mega Man 2. As with the classic series, later X sequels would squander some of this initial goodwill with their rote repetition. Sigma always comes back à la Dr. Wily, he always has eight new Mavericks in tow, etc. Mega Man X itself, though? It’s one for the ages; a thoroughly lovable, endlessly replayable, damn near perfect video game. Bravo.

Mega Man 6 (NES)

Is it just me or does Wily look like he might be enjoying that? Awkward.

Mega Man 6 made its Japanese debut in November of 1993, a mere month before the franchise’s shiny new spinoff, Mega Man X, hit the Super Famicom. We North Americans didn’t get a crack at it until March of 1994, two months after our version of X. Talk about late to the party! Seemingly content with being yet another slight twist on the formula established by the first two NES Mega Man entries, it was destined for a minute fraction of the critical acclaim and commercial success its more innovative 16-bit cousin enjoyed. It’s long been regarded as the one of the most redundant of Mega Man’s many sequels. Even more so than the fourth and fifth games, if that’s possible.

Like all the main line titles after the fourth, I missed out on this one back around the time of its release. That’s a shame, because while I do understand the audience burnout six highly similar games in seven years can engender, I had a blast with Mega Man 6. It’s an improvement on the lackluster 5 in virtually every way and at times comes close to rivaling 2 and 4, my personal favorites of the NES hexalogy.

The evil Dr. Wily is back and he’s brought another eight robot masters for you to take down and gain new weaponry from. There is some pretext of a new story, of course: A fellow named Mr. X who runs an international robot fighting tournament has seized control of its contestants in a bid to take over the world. Oh, and he just happens to look exactly like Wily wearing shades and a vampire cape. This setup is so transparent and hokey that I honestly can’t tell if the developers didn’t give a damn anymore or if they were aiming for self-parody. I suppose I’ll give them the benefit of the doubt and assume the latter.

Flimsy as the Mr. X conceit is, it does allow for some interesting new boss and level theming. Each robot master is associated with a particular region of the world this time. Knight Man calls a European castle home, for example, and Blizzard Man hails from snowy Canada. A couple of these characterizations are less than flattering. Ersatz Native American Tomahawk Man comes to mind. Regardless, his Wild West stage (complete with dramatic sunset and six-shooter packing cowboy bots) is a memorable one. My favorite of the bunch in terms of visual design is Centaur Man, the first non-humanoid robot master.

Not only are these bosses a striking lot, the special weapons Mega Man earns from them are quite useful. Although they’re nothing we haven’t seen before by this point, they cover the usual bases well. You have the rotating shield, costly full screen attack, ascending and descending shots to compliment the straight ahead Mega Buster, etc. They’re relatively balanced this time, too. You won’t find anything as overwhelming as Mega Man 2’s Metal Blade here, but neither will you be forced to make due with hot garbage like Mega Man 5’s Charge Kick or Power Stone.

Beat the bird also makes his return. As before, you’ll need to collect an assortment of letter icons (four this time) in order to unlock him. Finding these letters requires the odd measure of locating hidden alternate routes to the robot masters’ rooms and defeating them there rather than in their regular digs. Unfortunately, Beat has been greatly toned-down from the cutesy superweapon he was in the last game, so this involved process isn’t ultimately worth it in my book. One hidden gadget you will want to acquire is the Energy Balancer. Found in a well hidden room, this sucker automatically distributes weapon energy pickups to inactive items in your inventory, ensuring you never waste an ammo drop again. Truly a godsend.

Equipment-wise, however, the real MVPs are the two Rush Adaptors. As their name implies, these are a new take on Mega Man’s helpful canine companion, Rush. Instead of manifesting as various helpful utility items like the Rush Jet or Rush Coil, he now merges directly with Mega Man’s body, resulting in two additional forms for our hero with their own innate advantages. The Power Adaptor adds a chargeable punch attack that deals heavy damage and can smash through some walls to reveal goodies and pathways. Better still is the spectacular Jet Adaptor, which allows Mega Man to fly at will, albeit for no more than a few seconds at a time. Minor as that sounds, this added freedom of movement totally alters the feel of the game. Once I gained access to it via defeating Plant Man, I never wanted to take it off. No wonder it features so prominently in the game’s cover art!

As I said, this one really surprised me. I was fully expecting it to come across as tired and perfunctory as Mega Man 5 did. What I actually got was one of the more creative takes on the classic series. It’s certainly not perfect. The plot is daft and veterans may well find it a tad too easy for it own good. It’s neither as iconic as the second installment nor as fine-tuned as the fourth. Despite this, the new enemies and settings are packed with personality, while the Rush Adaptors offer fresh takes on controlling the Blue Bomber himself. Factor in Capcom’s generally high audiovisual standards and the proven strength of the core Mega Man gameplay loop and you have a winner on your hands; one that deserves far more recognition than it gets. Mega Man 6 serves as a worthy capstone to its legendary star’s exploits on the platform of his birth.

Mega Man: The Wily Wars (Genesis)

You know what’s pretty great? After nearly three years of regular game reviewing, I’m not even close to running out of personal milestones. Today, I get to tackle my first compilation in the form of Mega Man: The Wily Wars (aka Rockman Mega World in Japan), a 1994 Genesis remake of the first three NES Mega Man titles with some interesting bonus content thrown in. ‎Wily Wars was essentially Capcom’s take on Nintendo’s Super Mario All-Stars from the year prior, which similarly crammed four spruced-up 8-bit Mario outings onto a single SNES cartridge. Believe it or not, there was a point in history when enhanced reissues of hit games from the previous console generation were considered novel and exciting rather than lazy cash grabs. We all sent telegrams and had polio back then, too. Good times.

Wily Wars is famous (or perhaps infamous) for being an early example of a digital-only game release. While Japan and the PAL regions got it on a standard cartridge, North Americans were out of luck unless they happened to be subscribed to the Sega Channel download service. It wouldn’t be sold here again in any official form until 2019, when it appeared as one of the 42 pre-installed titles on the Sega Genesis Mini plug-and-play system. This didn’t stop hardcore American Mega Man fans from importing, bootlegging, and emulating it like crazy in the intervening decades, of course.

Since I’ve already covered the NES incarnations of Mega ManMega Man 2, and Mega Man 3 in full detail, you may expect me to gloss over the fine points of Wily Wars. Alas, I’m not off the hook that easy. Sure, everything in those reviews still holds true and I encourage you to check them out if you’re curious about the individual development histories, plots, or strengths and weaknesses of these games. Be that as it may, frequent Capcom sub-contractor Minakuchi Engineering did the actual porting work on Wily Wars and the result isn’t a perfect one-for-one recreation. Many of the differences are insignificant, such as some weapon damage values or ammunition counts being tweaked ever so slightly, but there are major ones which fall into four broad categories: Graphics, sound, play control, and performance.

The new graphics are adequate. They’re much in the same mode as the ones seen in Super Mario All-Stars. That is, they occupy a middle ground somewhere between the 8-bit source material and what you’d typically see in a game designed from the ground up for 16-bit hardware. The level of detail is well beyond the humble NES, yet you wouldn’t mistake these assets for something out of Mega Man 7 or Mega Man X on the Super Nintendo. The standout element by far is the new background art, particularly in Wily Wars’ interpretation of the first Mega Man, which originally utilized stark single color backdrops because of the minimal cartridge memory available circa 1987. The extra visual data goes a long way toward making it appear the action is unfolding in real locations rather than on chaotic assemblages of ladders and platforms floating in endless void.

Things are rougher on the audio side. Sound effects are underwhelming, with many of the most common and visceral ones from the NES games (giving and taking damage, the Mega Buster firing) coming through weak and muffled here. Most of the music is also a tragic downgrade. The bulk of Wily Wars’ expansive soundtrack is, naturally, rearranged versions of established tunes. Unfortunately, these tracks are too often twangy and abrasive, wallowing in all the excesses of stereotypical bad Genesis music. All those great old beats and melodies remain, they’re merely stifled by insipid production. The exception is some of the new stuff by composer Kinuyo Yamashita, which at the very least gives the impression of being written with the Genesis in mind.

A more severe sticking point for me is the handling on Mega Man himself. He feels heavier somehow, his movements ever so slightly less responsive. The rapid firing capability of his default Mega Buster weapon has also been toned down for some reason. It’s not enough to make Wily Wars unplayable, just enough to serve as a constant low grade distraction for those accustomed to the originals. When you’re talking about a series renowned for its fast action and fluid, precise controls, the slightest blemish is going to stand out all the more.

Compounding the problem of a less agile and quick shooting hero, Wily Wars is plagued by regular bouts of severe and frankly inexcusable slowdown. On paper, the CPU in the Genesis is several times more capable than its NES counterpart. If we only had Wily Wars and the NES games it’s based on to judge by, however, we’d have to conclude the opposite was true! This actually alters some of the gameplay drastically. The normally fearsome Yellow Devil boss, for example, is a pushover in Wily Wars due to the way the game limps along at half speed for the duration of the encounter.

With the majority of its meaningful alterations being for the worse, I can’t in good faith recommend Wily Wars as anyone’s introduction to these three legendary games. Nifty as some of the new artwork is, the NES renditions sound and, more importantly, play much better. Seek them out first and foremost.

That said, Wily Wars does manage to get a couple things right. First, it provides experienced players with a fresh perspective on three all-time classic action-platformers. I clearly didn’t love all of the audiovisual updates, but they kept me playing regardless, curious to see how the next new take on a familiar area would look and sound.

Then there’s the mini-game known as Wily Tower, which is unlocked by completing all three of the primary games on a single save file. It consists of seven new stages, each populated by its own unique boss on top of an intriguing mix of regular enemies and platforming hazards from Mega Man 1-3. These Wily Tower levels also allow for an unparalleled degree of flexibility when it comes to Mega Man’s inventory. You assemble your own custom arsenal from a pool of 22 special weapons and seven utility items! Want to be absurdly overpowered? Load up on brutally effective gear like the Thunder Beam, Metal Blade, and Rush Jet. Fancy a challenge instead? Try the trashy Bubble Lead, Spark Shot, and Top Spin. Wily Tower is fan service done right. I only wish it was around twice as long, which would effectively make it a full-fledged Genesis-exclusive Mega Man adventure unto itself.

Mega Man: The Wily Wars is an odd duck, simultaneously a poor starting point for newcomers and a one-of-a-kind curiosity every established fan of the Blue Bomber should experience at least once. Thus, though I wish I could love it a lot more than I do, it still warrants a qualified recommendation.

Mega Man 5 (NES)

Mega Man 5? Have I really reviewed five of these suckers already? That seems impressive somehow…until I remember it’s not even 4% of the sprawling extended franchise. Guess I won’t be finished with this little blue bugger anytime soon.

This installment represents uncharted territory for me. It’s the first of the six NES Mega Man outings I never played back around the time of its debut. Like most Nintendo kids in 1992, I was spending most of my time deep diving into everything the new Super Nintendo had to offer. Still, I have high hopes for this one. Revisiting Mega Man 4 proved to be a great time. I found it to be significantly more polished and better paced than the fan favorite third game. Let’s see if Capcom was able to maintain that same level of quality here.

Mega Man is, of course, the brave robot boy who protects the world of the future from the countless schemes of the megalomaniacal Dr. Wily. Most games after the third make a feeble stab at tricking players into believing a different villain is behind all the mayhem, only to reveal to the shock and awe of absolutely no one that it was really old Wily pulling the strings all along. This time, Mega Man’s own brother, Proto Man, goes rogue and kidnaps their mutual creator, Dr. Light. Uncovering the truth behind this apparent heel turn requires Mega Man to do the exact same thing he always does: Defeat eight robot masters in any order, take all their special weapons, and then storm Wily’s ridiculous skull-shaped headquarters with his new arsenal in tow.

By 1992, most players had a pretty good idea what they were in for with a new Mega Man title. This goes for the plot, the mechanics, the cartoony graphics, the rocking soundtrack, everything! These are incredibly consistent games, almost to a fault. That’s why when it comes to assessing Mega Man 5, I’m going to focus on the three key elements which are guaranteed to vary meaningfully between entries: The level design, the boss fights, and the various special weapons and tools Mega Man acquires.

The stages themselves are a real treat. Gravity Man’s has you fighting on the ceiling thanks to a gravity flipping gimmick similar to the ones seen in the previous year’s Metal Storm and Shatterhand. Charge Man’s deftly uses the visuals and sound to sell the idea that you’re in a moving train. Most compelling of all is Wave Man’s, which features the series’ first true vehicle segment. Mega Man pilots a jet ski here, a year before Mega Man X introduced ride armors. On the downside, Stone Man’s suffers from the same generic cave syndrome that’s plagued nearly all stone/rock-themed masters over the years and Crystal Man’s, pretty as it is, has too much stop and go for my taste. For the most part, though, these are some fun areas to blast through and a high point of Mega Man 5.

On the other hand, the robot masters themselves largely fail to impress. They do showcase some neat ideas here and there, such as Gyro Man’s tendency to hide in the billowing clouds filling his arena. Despite this, they were all simple to take down and I rarely felt like I needed to exploit their individual weapon weaknesses to come out on top. Comparatively basic patterns and modest damage output make them less of a threat than their Mega Man 3 or 4 counterparts. This is compounded by the increased availability of extra lives and energy tanks this time around. While difficulty preferences are obviously subjective, I think most gamers would expect and desire more than token resistance from these guys.

Speaking of wanting more, the special weapons in Mega Man 5 are a sorry lot. Only the steerable Gyro Blade and screen clearing Gravity Hold saw regular use during my playthrough. The rest are either too weak or too situational to bother with. This is doubly true since Mega Man retains his Mega Buster charge attack and it’s arguably stronger than ever. It ramps up to full power quicker and the shot itself has a larger area of effect. The designers attempted to balance this out somewhat by having the charge be lost whenever Mega Man sustains damage. In my experience, this doesn’t quite offset the improved fire rate. It was debatable whether or not the charge shot was the best weapon in Mega Man 4. Given the competition here, there can be no doubt.

Or can there? Although he’s presented as more of a side character than anything else, there is one optional weapon available in the form of Beat the robot bird. Unlocking him requires you to collect eight letter icons, one in each of the robot master levels. I recommend you put in the effort because Beat, well, beats ass. When active, he’ll automatically zip around the screen seeking out enemies and dealing heavy touch damage to them. He can make mincemeat of almost anything in his path, including the bosses in the final stretch of the game. Dr. Wily’s ultimate war machine? Easily reduced to scrap by a good pecking. Enjoy this avenging avian while you can. He’s toned down considerably in all his future appearances.

Perhaps it’s fitting that I’m reviewing Mega Man 5 the week after Thanksgiving, as it comes across like a plate of reheated digital leftovers. It features some creative stage designs and I did enjoy Beat the bird, both as a handy bonus item and an adorable addition to the greater Mega Man universe. Beyond that, it offers little in the way of new ideas and a mediocre at best selection of robot masters and special weapons. As with virtually  anything cast from the classic Mega Man mold, it’s a cut above the average action-platformer and remains well worth playing for fans of the genre. I certainly don’t regret giving it go. In the narrower context of its own legendary series, however, it’s simply a poor man’s Mega Man 4. You can really sense the developer fatigue setting in with this one. With a mere eleven months between the two releases, I reckon that should come as no surprise. These games may be all about tireless robots, but the teams behind them are all too human.

Mega Man 4 (NES)

Come on, ride the train! Hey, ride it!

I’ve been getting pretty esoteric with the import stuff these past couple weeks. Time to head back to the well and draw up some more classic Mega Man goodness! 1991’s Mega Man 4 is the first NES entry in the series to debut after the introduction of the Super Nintendo, yet it still only marks the mid-point of the Blue Bomber’s adventures on the old gray box. When other established franchises like Mario, Zelda, Metroid, and Castlevania hastened to join the 16-bit revolution, Mega Man was, in a sense, the system’s last veteran hero standing by the time Mega Man 6 dropped in 1993. I’m not sure if any current or former Capcom staff are on record detailing why the company waited so long to migrate their flagship character to the new hardware. If I had to venture a guess, it would be that the established 8-bit Mega Man formula was so robust and cost-effective to iterate on by that point that annual releases on mature hardware were seen as low risk/high reward endeavors by management.

This dependence on a formula established the decade prior hasn’t done Mega Man 4-6’s reputations any favors. You’ve probably heard the standard spiel before: The first three games are timeless classics that each blazed new trails by introducing revolutionary new gameplay features, fan favorite characters like Rush and Proto Man, or both. After that came the “me, too” entries; lazy paint-by-numbers cash grabs that shamelessly rode the coattails of their illustrious forebears.

With a setup like that, you’re probably expecting me to swoop in now and eviscerate this narrow-minded drivel. That’s what I foresaw myself doing all the while I was playing and enjoying Mega Man 4. Now that the time has come to commit my thoughts to writing, though, I’m just not feeling it. Truth is, the detractors have a point. The latter three NES sequels collectively do very little to expand on the gameplay or fictional universe of Mega Man. They’re really just spinning their wheels, creatively speaking. Anyone who remembers the triumphant launch of Mega Man X on Super Nintendo can attest to what a breath of fresh air it was with its faster, more dynamic movement and brand new cast of characters. It’s a great game that seemed even greater in its day precisely because we were so primed for a change.

Then again, these are games. Despite how much I’m able to nitpick after I’ve set the controller down, that core Mega Man loop (“kill eight robot masters, take their special weapons, storm Dr. Wily’s castle”) flows so well that I find it damn near impossible to hold their repetitiveness against them while I’m actually along for the ride. So it’s not so much that the common critique of these titles is inaccurate or unfair in any way, simply that it’s moot for all practical gaming purposes and, consequently, easy to forgive.

In terms of specifics, the one new thing of note Mega Man 4 brings to the series is the Mega Buster charge shot. You can now hold the B button down for a few seconds in order to ready a more powerful blast from Mega Man’s default weapon. This a classic example of a risk/reward mechanic, as missing your target when you finally do release the shot effectively wastes the extra time you spent charging it.

Some players adore this added layer of strategy. Others maintain that the charge shot was a mistake, since it deals so much damage that it renders the robot master weapons redundant. Put me down somewhere in the middle, albeit leaning slightly toward the anti-charge camp. I don’t think the robot master weapons are useless at all. In fact, this might be the best assortment we’d ever see in a NES Mega Man outing. Certainly, there’s nothing anywhere near as comically bad as Mega Man 3’s Top Spin. The real problem is the time needed to switch between weapons. Accessing the menu takes a couple seconds. It’s not much, but it does break the flow of the action each and every time, whereas just using the charged Buster instead doesn’t. I also get the impression that the designers upped the health of many common enemies in order to encourage players to use the new charging feature as much as possible. Everything seems to take one or two more uncharged shots to die than it would have in the earlier games. Maximizing your combat effectiveness therefore means holding that B button down (and tolerating the high-pitched noise it makes) for the majority of the game. I don’t consider this an improvement.

Fortunately, this installment has more than just a great selection of boss weapons going for it. The robot masters themselves are also fun and challenging to fight. Except for Toad Man. He’s just silly. The theming of these characters is getting ever more abstract, too, which can make guessing their weaknesses trickier. What’s Pharoah Man weak to? The Flash Stopper that you got from Bright Man, naturally. Everyone knows pharoahs hate flashing lights. Duh.

Mega Man 4 also continues to experiment with lengthening play time by adding more levels between the initial eight and Dr. Wily’s castle. Here, you have to face off against a Russian fellow named Dr. Cossack, who’s initially presented as the new mad scientist on the block. He’s actually a good guy being blackmailed by Wily, of course, because this is still a Mega Man game and tradition reigns. The important thing is that the Cossack stages represent unique experiences, as opposed to the cut-and-paste asset recycling of Mega Man 3’s Doc Robot levels. Another big plus: Both Cossack and Wily’s strongholds feel more complete than the rushed afterthought that was Mega Man 3’s Wily castle.

So, yes, Mega Man 4 is merely more run-of-the-mill NES Mega Mega and I don’t much care for its charge shot mechanic. It still looks, sounds, and plays better than at least 90% of its contemporaries, however, including sacred cow Mega Man 3. The robot masters, their weapons, and the game’s extended climax are all handled better here than in the last game, resulting in a more cohesive and satisfying experience overall. It doesn’t strike me as a true labor of love or a game for the ages like Mega Man 2 does, but I found myself appreciating it much more than I thought I would just for how well it nailed the fundamentals. Mega Man 4 doesn’t need to be great art. It’s a supremely competent action-platformer and that’s enough.

Mega Man 3 (NES)

O Brother, Where Art Thou?

A Mega Man double feature? Why not! After trouncing Dr. Wily yet again in Mega Man 2, I guess I was just hankering for more of that sweet, sweet elder abuse. And, hey, doing two reviews of such similar titles back-to-back means a lot less need to cover gameplay and story basics. Talk about a win-win!

That’s not to sell Mega Man 3 (or Rockman 3: Dr. Wily no Saigo!?, “Rockman 3: The End of Dr. Wily!?”) short. Sure, the basics are familiar: Destroy eight robot masters in any order you choose and steal their signature weapons in preparation for the final showdown with Wily. Along the way, however, it does more for the ongoing storyline of the series than any other sequel by introducing us to two new supporting characters who would become beloved staples.

The first is Mega Man’s robo-dog sidekick Rush, who replaces the relatively generic platforming assist items like the Magnet Beam from previous games with his ability to transform into a jet, submarine, and more. He still serves the same basic functions these earlier bits of gear did, making the tougher jumping sections more manageable and hard-to-reach items less so, except now with 100% more cute pupper. Advantage: Rush.

The other new character is Mega Man’s older brother and frequent rival, the red-clad Proto Man. Also known as Blues in Japan (where Mega Man is Rock), he wears shades and a kicky scarf, so you just know he’s too cool for school. He’s also the epitome of the lone wolf anti-hero archetype and that means the writers get to play around with the whole “Is he friend or foe?” angle when it suits them. I never was quite clear on what exactly makes him Mega Man’s brother, though. Is it because they were both built by Dr. Light? Seems like that would make most of the robot masters in these games Mega Man’s siblings. The subtleties of robo-familial relations clearly elude me.

The biggest innovation on the gameplay front is Mega Man’s new slide maneuver, which propels him along the ground at high speed and simultaneously lowers his hit box so he can pass through small gaps and better evade some attacks. Personally, I can take it or leave it. The move has potential, but the level design doesn’t always do the best job of encouraging it. Aside from a couple of noteworthy instances like the spike traps in Needle Man’s stage, it was all too easy for me to forget the slide was there at all. Although I’m sure it’s vital for speed and no-hit runners, the later Mega Man X spin-off series did a much better job overall of making dash type moves like this into an indispensable part of every player’s arsenal.

Speaking of arsenals, Mega Man 3’s assortment of robot master weapons is decent. The Shadow Blade and Magnet Missiles are a lot of fun and the Search Snake and Hard Knuckle both have their uses. The rest either have few advantages over the standard buster weapon (Needle Cannon), are far too awkward for their own good (Top Spin, Gemini Laser), or verge on being literally unusable (Spark Shock, which doesn’t deal any damage at all except to select bosses). With around 50% quality options, I’d say your loadout quality is about average by franchise standards

I’d played Mega Man 3 before, back around the time it was first released in 1990. I never did complete it then, but I remember being quite impressed by some of the robot master stages and I find this still holds true today. Its best levels manage to impress on every front with intriguing themes supported by excellent art design and a variety of distinct gameplay challenges throughout. Gemini Man’s stage, for example, opens on the surface of a crystalline alien planet. The player must brave a series of daring leaps over bottomless pits while simultaneously fending off air and ground enemies. The action then moves underground into a set of rainbow colored caverns filled with destructible eggs containing odd flying tadpole creatures. Next up is a penguin mini-boss before things culminate with a long stretch of water-filled terrain that’s best negotiated with the aid of Rush. It’s a lot to take in for an 8-bit Mega Man stage and others, like Snake Man’s, are similarly ambitious. They’re not all this exceptional, sadly. The ludicrously named Hard Man was stuck with yet another forgettable cave/mine stage in the Guts Man mold. On balance, though, the standouts more than make up for the duds.

The one thing I didn’t play far enough to pick up on when I was younger is how quickly Mega Man 3 starts to lose its mojo after these eight opening stages. This was the first title in the series to experiment with extending the play time by throwing in some extra levels and bosses between the initial set of eight and the ones inside Dr. Wily’s fortress. Unfortunately, they went about doing it in the least interesting way possible by leaning heavily on recycled content. After defeating the new robot masters, you’re tasked with defeating copies of the eight from Mega Man 2. These are situated two apiece in slightly modified versions of four of the same stages you just completed. The game effectively comes to a grinding halt while you slog through four familiar levels containing no original content whatsoever. Unless you haven’t played Mega Man 2, I guess. It’s a drag. Just as regrettable are the Dr. Wily levels themselves once you finally do reach them. They may well be the shortest and easiest in the whole series and make for one hell of an anticlimax. The good news is that later games would learn from this whole debacle and settle on much more interesting ways to length the Blue Bomber’s adventures, such as the Dr. Cossack and Proto Man sections in Mega Man IV and V, respectively.

This abrupt dropoff in quality seems tough to account for at first, but knowing a bit about Mega Man 3’s troubled history goes a long way toward explaining it. Akira Kitamura, director of the first two games and original creator of Mega Man, left the company shortly before development began in order to join several other Capcom veterans at Takeru, a short-lived game studio best known for creating NES ultra rarity Little Samson. Conflict sprang up between his replacement and other members of the team over the proper direction to take the series, which finally resulted in lead artist and character designer Keiji Inafune taking over as head of the project mid-stream. All considered, it’s a testament to the tremendous ability of Capcom’s staff at the time that the final product still turned out as great as it did.

And make no mistake, Mega Man 3 is great. The core jump and shoot gameplay is as compelling as ever, the majority of the stage and enemy design is inspired, the new characters remain fan favorites to this day, and the score by Yasuaki Fujita and Harumi Fujita comes out swinging with one of the most glorious title screen themes in all of gaming and rarely lets up from there. A disappointing final act knocks it out of consideration for best in the series, at least for me, but it’s still easily superior to most other action-platformers past or present.

If you still haven’t played it…well, rush.

Mega Man 2 (NES)

Sweet ending! Too bad this is the last we’ll ever hear of this little blue robot boy. I rather liked the cut of his jib.

I never dreamed I’d find myself defending Mega Man 2. Why would I need to? It’s still the best-selling entry in the entire 100+ chapter series and widely hailed as not just one of the best games available for the NES, but one of the best ever made. It’s a pure triumph of the form, an unimpeachable masterpiece. Right? Look around online, though, you may well get the impression that any aspiring gaming hipster worth his artisanal beard wax is practically required to cite a Mega Man other than this one as the series high point. All the better if he can throw some shade Mega Man 2’s way for being “too easy” or “unbalanced” while he’s at it.

As it turns out, being the franchise’s golden boy has its dangers in a social media saturated world where everybody seems to be striving to deliver the next attention-getting hot take. Whatever it is you happen to love, there’s someone ready, willing, and able to explain to you in great detail how it’s both overhyped and overrated. Welcome to the future! No refunds.

Okay, okay. No more hyperbole from me. I know full well that not everyone who hesitates to kneel at the altar of Mega Man 2 is some cynical troll or vacuous poser stereotype. Even so, the pushback against it is very real and that’s what inspired me to give it another look. It’s been several years since my last playthrough, after all. I’ve experienced a great many other games over this period (including other Mega Man ones) for the first time. Looking at Mega Man 2 with fresh eyes here on the eve of its thirtieth anniversary, does it still hold up or do its detractors have stronger arguments than I anticipated?

What’s most amazing to me in hindsight is that there very nearly wasn’t a Mega Man 2 at all. Director Akira Kitamura and his team very much wanted to do a sequel, but the original hadn’t sold well enough for the producers at Capcom to approve any funding for such a project. They eventually agreed they’d release the game only if Kitamura and company worked on it pro bono in their free time. Four months of twenty hour days later and Rockman 2: Dr. Wily no Nazo (“The Mystery of Dr. Wily”) was complete. Despite this insane and largely uncompensated workload, artist and character designer Keiji Inafune recalls it as the best time he spent with the company. No matter your opinion on the final result, it’s certainly remarkable that a team of around eight people working in their spare time were able to deliver one of the most critically acclaimed games of all time in a mere four months.

Like every other main series installment, Mega Man 2 centers on mad scientist Dr. Wily attempting to take over the world with an army of destructive robots. In response, his good counterpart Dr. Light dispatches his own creation, Mega Man, to put a stop to Wily’s schemes. Later sequels would often throw in bit of token misdirection at the onset meant to imply Dr. Wily wasn’t the one responsible for the conflict that time around, but long-time fans know better. It’s always Wily. Apart from that, the first game’s ending really said it all: “Fight, Mega Man! For everlasting peace!”

The gameplay formula over the course of the series is as simple and dependable as the plots. The child-like Mega Man doesn’t seem like much at the outset, with just a basic arm cannon weapon available. He doesn’t stay this limited for long, however, as every time he defeats one of Wily’s lieutenants (which typically number eight in total and are dubbed “robot masters”), he permanently gains access to that robot master’s special weapon. Crucially, players are free to choose the order in which they take on the robot masters and their corresponding stages. This choice is more than just a minor novelty because each master has a crippling weakness to one specific special weapon. This means players have a sort of ad hoc difficulty selection at their fingertips predicated on whether or not they choose to play through the stages in the optimal order dictated by the boss weakness chain or not. Once all the robot masters are defeated and Mega Man himself is fully powered-up, it’s a time for the climactic final assault on Wily’s stronghold.

Anyone who comes to Mega Man 2 after experiencing the first game will notice some striking differences right away. The art style itself remains very much the same, as it would in all six Mega Man NES releases and the much later, deliberately retro styled Mega Man 9 and 10. Even so, the doubling in cartridge memory allows for numerous enhancements to the overall presentation. These include a fancy intro sequence, detailed and frequently animated backgrounds which put the original’s solid color ones to shame, and the first appearance of the colorful map screens displayed between Wily fortress stages.

Beyond the purely cosmetic, Mega Man 2 introduces the now-standard compliment of eight robot masters in place of the original’s six, as well as a handy password feature that complements this added length. Its platforming mechanics have been tweaked, too. Mega Man feels a bit less slippery here and new physics have been implemented which affect how he controls in underwater sections. The stages themselves are more varied and complex, with many sporting elaborate hazards like the gauntlet of fatal laser beams that rapidly close in from off-screen in Quick Man’s lair. Mega Man 2 also marks the first appearance of fan favorite item the energy tank. These can be hard to come by, but allow for full health refills on demand, making them invaluable for tough boss fights. You know they have to be good when they have their own line of real world energy drinks named after them.

Of course, no discussion of the advancements Mega Man 2 brought to the series would be complete without a mention of Takashi Tateishi’s immortal score; a Murderers’ Row of funky, driving techno-rock earworms which some have collectively dubbed the greatest 8-bit soundtrack ever created. Is it? Quite possibly, after a fashion. For one thing, it’s remarkably consistent. Other favorite composers of mine like Naoki Kodaka, Junko Tamiya, and Tim Follin have certainly crafted equally superb tunes for the same hardware, but virtually every single beat and melody in Mega Man 2 is a beast. It really is all killer, no filler here. Another point in its favor would be that most of these other amazing chiptunes I alluded to above date from after 1988. Timing matters, and for an entire generation of NES kids, the ubiquitous Mega Man 2 was probably more likely than any other single title to be their first exposure to genuinely great video game music. In terms of quality, consistency, and impact on both gaming fans and the industry itself, it’s tough to point to any other soundtrack on the system that can outshine this one. Damn tough.

So far, what I’ve outlined is an all-around bigger, shinier, more complete take on an already groundbreaking action classic. What could there possibly be to complain about? Well, it all seems to boil down to three primarily factors: The lack of difficulty, the supposedly poor balancing of the robot master weapons, and the relative simplicity of Mega Man’s core move set when compared to some of the later series entries.

This is certainly not a particularly punishing game by the standards of the time period and genre. When compared to the first Mega Man, for example, Mega Man 2’s platforming hazards and boss encounters have been toned down significantly. This is true even before you factor in the presence of the new energy tank items and, in the international release, the addition of a new, easier difficulty mode (somewhat misleadingly termed “Normal”) accessible from the title screen.

Closely tied to the difficulty issue is the question of weapon balance. Mention Mega Man 2 to almost any current or former NES enthusiast and it won’t be long before the conversation turns to the almighty Metal Blade. No other weapon in the series’ long history has made so strong an impression on players, for better or worse. It can be rapid fired in every direction, inflicts massive damage on almost all targets, pierces multiple enemies with a single shot, and has effectively unlimited ammunition. The rest of your arsenal just can’t compete. Metal Blade is essentially an additional easy mode on top of the already existing one in a game that really needed neither. Plus, how ironic is it that the ultimate destructive force in a world of futuristic laser-shooting sentient robots would be a hand-tossed circular saw blade straight out of Home Depot?

Finally, some fans of later Mega Man releases love to point out that the titular hero here lacks some default abilities present in those installments. Specifically, he can’t slide along the ground or hold down the fire button to charge his arm cannon for extra damage. With much of the stage design and enemy encounters in those sequels being designed around the new abilities, it can understandably be jarring to revisit Mega Man 2’s simpler movement and combat.

These are substantial, well-reasoned critiques to be sure and I wanted to do my best to acknowledge them in a fair and respectful manner. Having hopefully accomplished ths I’m now going to explain why none of them amount to much.

Yes, Mega Man 2 is easy, even on the so-called Difficult setting. That is to say it’s easy for me as a die-hard who’s been playing these games since they debuted. I’m so steeped in 2D action-platforming at this point that there’s no Mega Man game I can’t waltz through in single play session if I buckle down and focus, not even one completely new to me. But is it reasonable for me to come down on Capcom for not designing this game around my skill set? Hardly. I can sleepwalk through Mega Man 2 now. Thirty years ago, not so much. Everyone has to start somewhere and Mega Man 2 is (and likely always will be) the ideal entry point to the series for players new to the character or to the genre in general. That’s a vitally important niche to fill, despite what some über hardcore types would have you believe. Besides, if the game really is too easy for you, this is where the modular nature of a Mega Man game’s difficulty can be put to best use. Try playing through the game without using energy tanks, or without the Metal Blade, or with only the default buster cannon, or even with limited lives. There’s likely more potential challenge lurking here than you might think.

How about the Metal Blade? Is it unbalanced? Potentially game-breaking, even? Hell, yeah, it is! Here’s a little secret I’m going to let you in on, though: Balance, in non-competitive gaming at least, isn’t necessarily very important and can sometimes even be a detriment when it results in an generally unexciting assortment of options. Know what else isn’t at all balanced? The spread gun in Contra. Not to mention the sword (also known as the dagger or knife) in Ghosts ‘n Goblins. These are famously the only weapons you want in their respective games and are inseparable in the minds of gamers from the series that introduced them. In this respect, they’re legitimately iconic. People have the Contra spread gun icon hanging on their walls! This gambit doesn’t always pay off, naturally. I criticized the otherwise excellent NES Bionic Commando for having only one great gun. The difference is nobody starts raving about how awesome the rocket launcher in Bionic Commando was the second the game comes up in conversation. It’s overpowered, but not unforgettably so. The Metal Blade, like the spread gun, is both. It’s the definitive special weapon of the series and Mega Man 2 is more memorable, indeed better for its inclusion. Oh, and using it is completely optional. Almost forgot that.

The preference for the slide and charge shot maneuvers is understandable, as these mechanics can be a lot of fun in the games in which they’re present. That said, there’s also a certain elegant simplicity to Mega Man in his original “jump and shoot man” form, particularly for those same new players I mentioned above. In any case, the fact this game wasn’t designed with these abilities in mind obviously means that they’re in no way necessary to tackle the challenges here and their absence detracts not one bit from enjoying what’s present. In a game built around them, they’re fine. In Mega Man 2, they’re frankly neither here nor there.

Whew! Enough apologetics, already! Look, whether or not this is the best Mega Man game ever made is ultimately down to the individual player. With virtually every main line entry being a world class action-platformer in its own right, there just aren’t many wrong opinions to go around. What I do maintain is that Mega Man 2 is the greatest Mega Man game ever made, both from an artistic standpoint (befitting its status as a passion project) and in terms of the sheer magnitude of its influence on the hobby. The original was laden with potential, if also rough around the edges. As the first fully-fledged entry in the franchise, Mega Man 2 is pure promise fulfilled; a landmark release which can never be truly replicated. The remainder of the series is fundamentally iterative. If Mega Man 1 is the video game equivalent of John Glenn orbiting the earth, Mega Man 2 is Neil Armstrong walking on the moon: One small step for a (Mega) Man, one giant leap for gamerkind. The later titles? Well, they’re more along the lines of Alan Shepard golfing on the moon: Still remarkable achievements and well worth your attention, but you can’t convince me the same degree of magic is still present.

So, while the whole “everlasting peace” thing may not have panned-out, Mega Man 2 has achieved something almost as impressive: Everlasting relevance.