Tag: game boy color

Super Mario Land (1989)

As I’ve been plugging away at the Game Boy’s launch titles I’ve been hemming and hawing on when to talk about Super Mario Land. It seems like one of those games that I should cover with intent, you know? It’s got The Guy on it! The funny Italian one! So I waited. Then I thought about it some more and like…I think there’s enough Mario to be had on this system? We can do this now. It’s fine.

The Yokoi-led R&D1 division designed this game specifically for the system’s launch, opting to not simply port the NES games in favor of making something wholly new, and boy can you tell! The moment to moment feel of movement is pretty Mario-ish, but everything else is jarringly different. Fireballs? No, superballs that ricochet at angles that’d make your geometry teacher blush! Enemies aplenty that have barely returned beyond the backgrounds of games like Mario Kart World: Moai, Jiangshi, giant flies that turn into horrible skeletons on death that just…linger, and my new favorite: Pipe That Just Has A Fist In It. You get dropped off in later worlds by an unexplained UFO? Picking up a star plays the Can-Can for some reason? There are side scrolling shmup sections??? This Mario guy needs to calm the hell down, he’s gonna overstimulate the soon-to-be-90’s kids!

All of these choices coalesce into a play experience that feels…weird. You ever play a bootleg that was simultaneously flagrantly incorrect but well made on a technical level? I have, and this would certainly qualify for the list if it was lacking the Nintendo seal. The differences chafed at first. My muscle memory betrayed me semi-regularly, I couldn’t hit a rubber ball shot to save my life, all the sound effects being off kept throwing me for a loop, and…it’s really small? Like everything is tiny. I remember playing this as a kid on a friend’s GB, and even then I remember thinking “oof, ow, my eyes” before handing it back. It doesn’t help that I’d already played the sequel by that point, but that’s a comparison for another day!

Eventually I acclimated, played the game on its own terms, and took some time to think after beating it a couple times, which is less impressive than it sounds considering this consists of a whole 4 levels. A lot of thought has gone into the following opinion, so I’d appreciate if you treat it with the respect it deserves, OK? Here goes:

Mario Land is…good.

Good! Not great, but good. Weird, but I’d argue not weird enough, especially given the reputation it’s built over the years as “the odd one”. Plenty enjoyable in the moment, but so bite sized that it feels more like a tech demo than a full first-party release, which is honestly apt given the circumstances of its development. There’s also a little bit of discomfort in the last world, which opens with the auditory equivalent of Wonton font before transitioning into my favorite track of what ends up being a fairly punchy OST overall. It’s solid enough head to tail, but nothing about it really stands out beyond the areas where it most significantly diverges from established series convention. The whole thing is just a bit wonky.

Yet, this wonkiness is core to what makes Super Mario Land such an ideal launch title for the handheld. Sure it’s not a better game than home console Marios, and frankly I don’t think anyone reasonable would’ve expected it to be, but it was built from top to bottom to provide the exact experience Yokoi and team intended for the Game Boy on launch: short play sessions of games designed specifically for its play conditions. How long did you really want to stare at the DMG’s pea soup screen? Just long enough to beat SML again, probably! Playing this on better hardware almost betrays the game design a bit, highlighting seams that were less apparent at the time. I don’t love SML, but I do respect the design chops on display greatly. You’re not my favorite launch title, Mr. Land, but you’ve left me with even more respect for Nintendo’s funny little brick as well as the minds behind it, and I appreciate that!

3/5

04/25/2026
Feed IT Souls: DOME Edition (2025)

Feed IT Souls is an angry game. I suspect it wouldn’t exist without that anger. This game is its opinion on its subject matter, fully entangled and intertwined, and it hates that subject. If you’re reading a blog about indie, artist-made Game Boy games in current year, you’ll probably find something to agree with here. I have thoughts on those thoughts, and will elaborate on them in a minute, but I’d be doing FIS a disservice if I didn’t talk about it as a video game as well, because it’s pretty good at being one!

This is a platformer, and as such you have a jump. Said jump lasts about exactly as long as you hold the button until you hit its apex, meaning movement feels responsive, weighty, and most importantly, precise. The levels take this precision into account, demanding accuracy or a trip back to the last checkpoint, but never becoming so challenging that it feels unreasonable thanks to the quality of the player control.

FIS is technically a metroidvania, albeit a considerably distilled one, and as a result you gain some movement tricks over the course of the game. I typically dread when platformers grant significant midair controls as the level design and challenge tends to suffer as a result. You’ll be spared from me complaining about double jumps and their consequences today, because FIS’s execution of aerial movement is better than most. The dash here combines movement with offensive utility in a far more satisfying manner than many comparable games, maintaining the game’s pace and precision, without ever feeling like it’s trying to fit too many functions onto the Game Boy’s layout. It’s satisfying! I’d have liked to see a few more hazards, as well as some more challenges (optional or otherwise) that really squeezed this moveset for everything it had, but I’m willing to chalk this up more to my enjoying the gameplay enough to want more of it than any failure of design.

A playthrough of FIS will probably take most folks about an hour or so. I played carelessly, and spent a bit of extra time slithering in and out of the game’s many wall-vulvas at the end to grab the 3 eggs I missed for 100%, so I spent more time in the grime. I was never bored for a moment, and it opts to wrap up just before its ideas would start running out of steam. Let me reiterate though, you’re just as much here for this game’s ideas and catharsis as you are the hop’n’bop if not more so, and as a result this brisk pace only serves to strengthen what’s on offer.

Alright, that’s the video game addressed! Now I get to call Elon Musk a loser on a website that talks about Game Boy games and have it actually be relevant! What a time to be alive.

So yeah, that’s what this game is about. If you consider that a spoiler I apologize, but it has a bigass muskrat enemy as well as a ton of direct references to the man and his ceaseless posting pretty early in, so I don’t think I’m ruining anything by saying so. If anything I suspect a lot of folks would be a lot more interested in the game’s pitch if it just came right out and said it on the itch.io pa-oh wait, it does! It says anti-Musk right there! And people on the internet manage to be surprised or confused as to what this is trying to do? I get we’re here to play Game Boy games, but there isn’t even subtext! Come on y’all.

Anyway! I think we’ve all earned a bit of Musk-bashing as a treat after being subjected to years of his dogshit opinions and suffering his continuous direct impact on our actual real lives. This game doesn’t even alter his actual words that much beyond recontextutalizing them for the MeatMars we find ourselves on. He’s just as petulant, idiotic, and pissy here as the real thing, ruining the lives of everyone around him in service of seeing his vision through, only to constantly change that vision when the realities of the situation prove it untenable then declare victory by super-genius anyway. With every shove of the goalposts more lives and skilled workers are lost, until the situation deteriorates to the point where he needs to upload his consciousness to a comically oversized smartphone and manufacture more help. Now your player character is the newest helping hand fresh off the conveyor belt, built to serve, unquestioning, lest you be thrown back in the meatgrinder and replaced with another. The greatest sin you commit in the eyes of your “creator” is reclaiming your agency. Apt!

Look, I’m a writer. I like a clever work that I need to unpack as much as the next person who was failed by a public school gifted program. Subtlety can be useful, but it is but one tool of many in a writer’s belt, and sometimes it’s the wrong tool for the job. Sometimes precision instruments don’t get it done. Sometimes you just need a hammer. Feed IT Souls is a pneumatic one. I can’t call this the greatest Game Boy game I’ve played, indie or otherwise, but I’d be lying if I said I didn’t enjoy it from head to tail, both as a platformer and as a platform.

4/5

04/11/2026
Tennis (1989)

“Mario” Tennis? We’ve already got that game at home! See, there’s Mario! He’s the one who keeps telling you how bad you are at serving!

Consider that this was a Game Boy launch title, on a system that was a lot of people’s first exposure to Nintendo and its roster of marketable mascots. I would love to meet the person whose response to “Hey, do you like Mario?” would be “Who, the Tennis judge?”. He’s so out of place too, just sittin’ there watching completely normal dudes whack the ball around, surrounded by an audience of more normal dudes. If it wasn’t for the cutaways to his smiling face every time you foul, I’d have thought it was just an overt easter egg or something, but no! They want you to know that Mario is Here. Watching. Waiting.

Beyond the ever present plumber, yeah this sure is a Tennis game. A hits fast but risks clipping the net, B lobs and travels slower. Your dpad input influences your shots and gives you a surprising amount of control, and it doesn’t do you the kindness of Mario Tennis when it comes to hitting the ball well outside of the lines. I initially chafed at Mario constantly telling me that the very-obviously-on-the-line balls weren’t, but grew to appreciate the amount of finesse this game’s hitting has. Makes for good multiplayer too!

Where I have some gripes is the character movement. It, uh, sucks. You’re slow as hell, there’s no lunges or dives or anything, only waddle around and smack. It makes playing the net feel incredibly risky as you can position the ball better, but any wide lob will kill you dead without recourse. The game has 4 levels of difficulty as well, each making your opponent faster and boosting the ball speed, meaning the game becomes entirely about positioning.

Actually, let’s talk about that speed for a second. Tennis goes fast as hell by levels 3 and 4. Where was this in Baseball? That game felt like you were playing in the vacuum of space, meanwhile Tennis had me gripping my GB a little too tightly as I rocked the pad back and forth rapidly, scrambling to keep the ball in play against a much stronger opponent. On level 4 it was almost more Ping Pong than Tennis and I consider that a feature. When you take the game on its terms and allow yourself to just play, Tennis manages to capture all of the intensity of actual matches surprisingly well despite, or in part because of, its simplicity. It’s just you, your opponent, and the ball. Oh, and Mario. Mario is there. Mario is always there.

So is this as good as Mario Tennis, a game that came out over a decade later? Hahahaha, no! God no! That said, the more I played Tennis the more I came to enjoy it. Sure the movement is stiff, but the ball control and sheer speed is enough to make me appreciate it on its own merits. Turns out this “Nintendo” company actually can make a sports game! You love to see it, and I don’t mean the tennis score definition.

3/5

03/29/2026
Catrap (1990)

Let’s start with the obvious – why the Japanese cover this time? Because for whatever reason that’s the version of the cart that I own! Near as I can tell they’re identical beyond the title – the game is as language independent as it gets. Truly box pushing has no borders.

Anyway, Catrap! The history of this one is similar to several other GB puzzle games, which is to say it’s a Game Boy port of a preexisting computer game made by another studio. The premise is, uh, weird! Our heroes (named Catboy and Catgirl) are minding their own business when they’re suddenly turned into cat people. Which means their names were just…that? Already? Regardless, our heroes are so motivated to de-cat themselves that they beat the everloving shit out of several Spirit Halloweens’ worth of spookingtons to do it. Somehow that solves the problem! Fuck yeah! Violence wins!

The Sokoban comparison is obvious and certainly not invalid, but Catrap feels meaningfully distinct for several reasons. It’s got gravity, for one! You still move and push on a grid but its levels resemble a platformer, only you can’t jump. The vast majority of the puzzles involve finding ways to push and drop boxes into the right spots so you can bump into an enemy, at which point you’ll sock their lights out with an animation I never got tired of. Beat down all the baddies in the level and you win! Simple as.

By far this game’s most standout design feature is its phenomenal undo/redo function. Since all you need to play is a dpad, A and B are committed to undoing as many steps as you’d like and redoing just as many if you rewound too far. I cannot adequately emphasize how much better the experience of solving these puzzles is made for this inclusion. I’m very much an experimenter, someone who likes to visualize by touching the thing, which older Sokoban games typically punish by forcing a full restart. You may recall that Boxxle, cursed be its name, only allowed you to take a whole 1 step back! Catrap is almost shockingly generous for a game of its era, providing considerable quality of life without compromising its challenge in any way. It predates a lot of other time-rewind-type games, yet I’d argue Catrap handles it better than several far newer titles!

I haven’t even gotten to some of the game’s more ambitious qualities! A bunch of levels feature both characters and have you switch which one you’re controlling, effectively turning the other one into a block (and also swapping between their two different music tracks, which is a nice touch). There are a lot of creative uses for this freeze’n’swap and I found those puzzles to be by far the trickiest to get my head around. It also has an entire level editor, and the manual goes so far as to include codes for even more than the base 100 if you just can’t get enough ghostbusting. That’s a lot of game for your 90’s dollar, especially this early in the console’s life!

Turns out I am absolutely down to shove boxes for 100 levels if my time is respected and I get to concuss a mummy. I cannot adequately explain nor justify why the objective being “I want to punch that ghost in its stupid face” motivated me so much more strongly than box reorganization. Maybe that’s explanation enough? Regardless, this is a welcome deviation from traditional Sokoban while still offering the same level of satisfaction you’d expect from its crunchy 100-step puzzles, and it’s aged like a fine catwine. If this never came out back in the day and dropped on Itch.io tomorrow the puzzle sickos would still be feasting.

4/5

03/15/2026
Dexterity (1990)

In the How to Play section of Dexterity’s manual SNK calls this a “jigsaw puzzle, maze, and labyrinth game“. That’s a pretty unhelpful description, so I’ll give you mine: Dexterity is a Fucker Game. For the unfamiliar, FUCKER GAME, DEFINED: “a game that involuntarily makes you call it a Fucker frequently and with increasing intensity.” Alumni of Fucker Game University are not necessarily bad, but they are typically frustrating, obnoxious, or both. Dexterity just happens to be all of the above! FGU! FGU!

I would love to tell you what Dexterity is about, but SNK didn’t manage to figure that out before manufacturing the cart labels. In Japan it was called “Funny Field” which still doesn’t explain why this little boy is trapped in a series of increasingly horrible grids. The manual’s story page ends on “So find the magical key to unlock the door to not only Dexter’s but your own wonderful imagination!”. I tried, but a beetle sat on the key until I died of exposure.

The goal of the game is to flip all the floor tiles to their other color before the timer runs out. This works similarly to Reversi, by which I mean if you flip a tile and there’s another flipped tile in the same row or column, it’ll flip every tile in-between to the same color. Please don’t get the impression that this is a cerebral, abstract affair. The game’s called Dexterity, y’know? It isn’t as much of a puzzle game as it is a real time scramble with enemies that’ll unflip your tiles, forcing you to double back to fix them. At first this is fairly simple to the point of being a bit dull, but eventually the stages transition to a particularly shitty maze game filled with enemies that hate the board, hate you, but most of all, hate predictable behavior.

Games like this always involve variance but Dexterity’s luck factor is way out of whack. Enemies may or may not bother to flip tiles in any given direction or at any given time. Their movement styles are predictable in that some are slow, some are fast, some tend to turn, etc., but what they actually do is known only to them and god. If I voiced my opinion of that goddamn snowman I would get in trouble. This is exacerbated by the powerups. These range from giving you a few worthless points to all but winning you the level, but what you get is mostly random as far as I can tell, beyond the good ones being rarer. Because of course they are. Most of the time you’re playing from behind, trying to play Reversi uphill despite Wesley Snipes’ warnings, but it’s just as unsatisfying when the game occasionally just throws you a win for free!

I was so convinced that this game was fucking with me that I swapped to a save state-capable device and started testing. Some of the enemies pretty much always do the same thing, and you can semi-reliably route some sections, but as I reran annoying levels again and again I noticed irregularities. Sometimes the enemies did practically nothing, other times they would go so far as to hold chokepoints and just refuse to move, wasting upwards of 10 seconds or getting me killed outright. Success isn’t earned in Dexterity, it’s eventually granted.

Even the bonus game is borderline random! At first it looks like it’s just a memorization challenge, flashing a bunch of tiles on an otherwise empty board that you need to remember and flip, except one of them is secretly a skull that’ll kick you out with no extra life to your name. I think these patterns are preset and if you memorize the placements you’ll be able to 100% them, but that’s a level of time-sadism I simply do not possess, says the guy who’s playing all of these.

By the time you manage to hold onto your continues long enough to get to the end you’re confronted by King Tojo, a bigass ghost boss who’s basically from a different video game with mechanics to match. The fight involves picking up and throwing enemies, a mechanic that doesn’t exist until then, meaning if you don’t immediately get the hang of it and successfully land the dozen or however many hits Tojo demands there’s a very real chance you have to play the entire video game over again. Did you know this game’s Nintendo-assigned designation is DMG-FU-USA? You cannot make this shit up! They know what they did!

I like the jaunty little tunes. I guess. Half a point for those. Fucker.

1.5/5

02/25/2026