Nintendo 64 Reviews F-L

It may boast the fastest cars in the world, but F1 racing is more about strategy than speed. Taking the best lines, selecting the proper tires, and knowing when to pit is critical. Formula One Grand Prix is a realistic racer with actual courses and real racers including the legendary Michael Schumacher. A lot of finesse is required to navigate tight turns, and pedal-to-the-metal players will find themselves plowing into the nearest barricade. The cars look remarkably true to life, and the tracks border on photo-realistic. The scenery tends to be hazy and dull however, except for the Monaco track with its scenic skyline overlooking a harbor. Offering a generous number of modes and options, Formula One lets you play exhibition, time trial, two-player split screen, or a battery-backed season. A rumble pack helps you get a feel for the road but the bumpier your ride, the worse you're doing. I like how my team transmits frequent updates over the radio. Success usually hinges upon knowing the tracks inside and out. To its credit Formula One World Grand Prix does attempt to cater to the casual crowd by offering an auto-braking feature that slows you when approaching turns. That may be blasphemy to die-hards like my friend Brent, but for me it's the only way to go. My primary issue with the game is the camera. The default view is so close, it's tricky to gauge upcoming turns. When you make contact with anything the camera tends to swing wildly or reverse itself, making it hard to recover gracefully. Why do racing games do that? The lack of a rear-view mirror is also worthy of mention. You can hold in a button to bring up that view, but it's not the same. Casual racing fans will find it hard to get excited about Formula One World Grand Prix, but serious F1 fans can bump up the grade by a letter. © Copyright 2016 The Video Game Critic.

If you thought all fighting games for the Nintendo 64 sucked, Fighter Destiny 2 will do little to change your mind. Destiny is cheesy with a capital "C". Its unlikable cast of characters includes a clown named Pierre, a Dennis Rodman look-alike (wearing a jock strap no less), a ninja named "Ninja", and an emaciated cow. The "Abdul" character is so insulting it could set back relations with the Middle East by ten years. The scantily clad Brazilian dancer caught my attention, but like the rest of the characters, she looks awfully blocky. Perhaps that's why the camera keeps its distance - to hide the lack of detail. FIghter Destiny 2 is one of the few N64 titles that favors the directional pad over the analog stick. The control scheme seems simplistic at first (mainly limited to the A and B buttons), but there's more to this game than meets the eye. I was surprised by the ability to escape throw attempts, apply locks, and execute counters. Unlike every other fighting game ever made, rounds are won by scoring points earned by executing ring-outs, throw-downs, counters, or special moves. The default scoring system seems a bit unfair (a throw-down is worth more than a ring-out), but you can adjust these to your heart's content. The fighting action is fair but lacking in intensity, and the hits seem awfully soft. The elevated platforms are pixelated as hell, and the scenic backdrops look totally flat. An annoying commentator constantly runs his yapper with idiotic comments like "C'mon let's do it!" and "You need to fight harder!" The music is generally awful, some of it sounding like an out-of-tune accordion. Besides the normal fighting modes, a "Fighter's Arena" mode lets you traverse a game board between fighting challenges. This adds some replay value, allowing you to build up your character with new moves and enhanced attributes. There are a few novel concepts here, but not enough to complete with the Tekkens or Virtua Fighters of the world. Fighter Destiny 2, like its predecessor, is destined to fade into obscurity. © Copyright 2006 The Video Game Critic.

First-person shooters were the rage on PCs in the 1990's, with LAN parties popping up all over so people could engage in multiplayer combat. Goldeneye 007 filled that niche in the console world, offering quality first-person shooting with a four-player split-screen. LAN parties could be logistical nightmares but anyone with a Nintendo 64 and a few controllers could engage in a raucous multiplayer deathmatch. It was great at the time but Goldeneye hasn't aged well. I'm reviewing this game from a present-day perspective, so please don't get mad out there! The framerate is fairly smooth but the maze-like arenas are repetitive and the graphics look muddy. I found myself running in circles, struggling just to locate my friends. And while there's a slew of customization options, there's no way to add CPU opponents. The single-player campaign has aged much better. It reprises exotic locations from the film like a massive dam, snowy Siberia, and an Egyptian temple. The attention to detail is commendable with sophisticated operating facilities, destructible environments, and satisfying explosions. The character models are angular but their digitized faces are notable. The blood is modest but I love how gunned-down soldiers scream and contort their bodies like ragdolls. It's like I'm fighting an army of Pinocchios for crying out loud! The smooth framerate and ability to strafe makes navigating narrow corridors a breeze. Stealth is sometimes called for but it's hard to avoid frantic shootouts. The nifty auto-aim lets you mow down enemy soldiers with ease, piling up bodies in the doorways. The missions are short but the objectives are so specific it often takes several attempts to complete them properly. The audio is outstanding, serving up crisp sound effects and a pulse-pounding musical score. Goldeneye may not be what it once was, but it will remain one of the most celebrated titles for the Nintendo 64. For fans I'd recommend its superior sequel, 007: The World Is Not Enough (Electronic Arts, 2000). © Copyright 2016 The Video Game Critic.

My little nephew is currently going through a Pokemon phase, so when he walked into my game room he made a beeline for Hey You Pikachu. I'm glad, because it was probably the only excuse I'd ever have to review what one reader referred to as "a wisp of a game about nothing". Packaged with a microphone, Hey You Pikacku was an early attempt by Nintendo to incorporate voice recognition technology, and the results are not good. The game is played in virtual days, with the little yellow guy visiting your bedroom window each morning and inviting you on field trips to forests, beaches, meadows, and other boring places. Once there, you'll spend a lot of time watching Pikachu frolic around, much to the delight of my nephew, who laughed out loud while watching Pikachu's ultra-cute antics. Personally, I wanted to skewer the thing. Although clearly aimed at young kids, Hey You Pikachu is inexplicably loaded with verbose text which I was forced to read aloud. After a while, even my nephew was mashing buttons to expedite the process! Interacting with Pikachu is done by issuing voice commands, but the interface for this is absolutely deplorable. You have to hold in the Z button to enable the microphone - something I had to constantly remind my nephew of. This causes a "voice bubble" to grow on the bottom of the screen, and when it "pops" your voice message is sent to Pikachu. The problem is, you feel compelled to speak the whole time the bubble is growing, despite the fact that you really don't have much (if anything) to say. To be frank, I don't think it even matters what you say, because Pikachu seems to do whatever the hell he feels like. Playing Hey You Pikachu is like trying to pick up a watermelon seed - there's a lot of effort involved but minimal reward. I actually began to feel physically ill while reviewing this. With its verbose text and user-hostile interface, Hey You Pikachu is probably the most worthless game in my entire collection. © Copyright 2007 The Video Game Critic.

Despite its first-rate license, Indiana Jones and the Infernal Machine was only made available as a Blockbuster rental - and for good reason! Infernal Machine's storyline is captivating enough, but its stage design is poor and its playability is rock bottom. It's the beginning of the cold war and the Russians are trying to locate an ancient machine capable of summoning demons from other dimensions. Brief cut scenes convey the narrative through blocky characters that make bold gestures to compensate for their non-moving lips. It looks hilarious as the female character removes her pilot cap and shakes out that pixelated, chunky hair of hers. You'll travel to exotic locations around the globe including the Tian Shan River in China with its snowy mountains and howling winds. The control scheme borrows heavily from Zelda: Ocarina of Time, with context-sensitive action buttons, a Z-targeting mechanism, and the ability to assign items to the C buttons. Infernal Machine is a real nightmare to play. The camerawork is totally manual, so positioning yourself for a jump is tedious. Sometimes Indy can leap over a 50-foot chasm without a running start, and other times he can't even hop across a three-foot stream without falling to his death! You'll often need to hang from perilous ledges, but it's hard to determine which ledges you can hang from! The context sensitive controls are real pain in the ass. When standing next to a ladder you'll often have to finagle with the thumbstick just to get the "climb" indicator to appear. Considering the difficult moves you're expected to make in the early going, such erratic controls are unforgivable. Even when you know exactly what to do, you'll struggle mightily and often fling the controller in disgust. In later stages demons materialize on top of you, resulting in instant death. I was hoping the driving stages might redeem this game, but they have problems of their own. I enjoyed the rollercoaster feel of the minecart ride, but in the jeep I found myself driving up the side of a mountain before becoming suspended in some blue alternate universe. As buggy as it is infuriating, Indiana Jones and the Infernal Machine is for collectors only. © Copyright 2009 The Video Game Critic.

The Nintendo 64 was known for multiplayer action so when a group of friends came over I couldn't wait to bust out International Superstar Soccer. This is a good-looking title with colorful, fluidly-animated players. The game has an arcade flair with a wide range of customization features. We consulted the manual for the controls but all we found was page after page of complicated tables. The button combinations used to perform special moves are overwhelming! The manual explained heel lifts, feints, and loop shots, but frankly we just wanted to know how to kick the freaking ball! Eventually we figured out that A is pass and B is shoot. Why the [expletive] didn't they just say so? The problem with having with four players on one team is that each has a slightly different symbol of the same color. Especially from a side angle view these pixelated icons are hard to tell apart. I couldn't locate my player half the time and the flashing radar display wasn't much help. Playing two-on-two was an improvement, at least until I decided to shove my opponent's goalie to the ground just for the fun of it. Would you believe that by earning a red card my team automatically lost? Since when does a red card end the freaking game?! You're probably better off playing Superstar Soccer solo. It's easy to pass the ball around and maintain possession thanks to a helpful marker that highlights the player you're passing to. Still, certain moves seem overly complicated, such as pressing R + right yellow button + B for a long pass. A spirited British commentator tosses out funny lines like "a cracking shot!" and "yes! the ball is dispossessed!" Each game only runs about ten minutes which is just long enough. International Superstar Soccer is more complicated than it needs to be but if you're willing to invest a little time this isn't a bad way to get your kicks. © Copyright 2018 The Video Game Critic.

This third-person shooter comes fairly cheap so I was surprised to see the Rareware logo - a publisher known for innovation and quality. In Jet Force Gemini you play a soldier fending off an army of marauding ant creatures. The characters are rendered in a cute anime style so it's disturbing when a furry creature gets blown to bloody chunks during the opening cutscene. Guiding you through each mission is Yoda's cousin, his advice generating page after page of boring text. Gemini's stages are small and cookie-cutter, and the fact that you're collecting gems and cuddly animals feels contrived. There are platforms to jump on and blocks to take cover behind. The scenery has an unsightly blurry appearance, making it hard to locate enemies. The shooting action is compelling enough. Using the Z trigger to fire feels perfectly natural, and holding it in unleashes rapid-fire shots. A handy auto-aim lets you splatter enemies at ground level with ease, leaving their lifeless (sometimes headless) bodies still twitching. Things get tricky however when you're being attacked by snipers on high or flying drones. Holding in the right trigger brings up a crosshair but aiming with the touchy analog stick is tricky. The game employs a reverse Y-axis control scheme that I really didn't like at all. Gemini attempts to compensate with a lock-on mechanism but you're a sitting duck while trying to target foes. I really wish my health was displayed on the screen at all times because I never know when I'm about to die. The pause screen offers an elaborate menu that's a real pain to navigate. You can save your progress at any time but you'll still need to restart at the beginning of each level. That plus limited continues makes it hard to make progress. The game contains a coop mode but you'll first need to rescue a character to unlock it. Jet Force Gemini has flashes of fun but I feel like Rareware made this one a lot more complicated than it needed to be. © Copyright 2020 The Video Game Critic.

This ambitious action/RPG title had a lot to live up to. Not only does it follow one of the greatest adventures of all time (Legend of Zelda Link to the Past, SNES, 1992), but Ocarina was the first to transition Zelda into the world of 3D. All things considered, this is a technically-impressive, well-crafted adventure. There are plenty of throwbacks to past games that will appeal to fans, but there are also some surprising innovations. For one thing, jumping is now automatic - you just run off the end of a platform and Link jumps. Another interesting new feature is the "Z-targeting" system which automatically aims at your enemies when you hold the trigger. Features like these ease the transition to 3D, but a negative side effect is the awkward camera angles. In order to locate creeping enemies or hidden switches, you'll be wrestling with the camera quite a bit. The controls are far more complicated than past Zelda games, but Nintendo made an obvious effort to make them as intuitive as possible. Ocarina of TIme's vast world is beautiful and is huge in scope - so big that a horse is provided to expedite your journey between dungeons. Like Link to the Past, the dungeons tend to be multi-layered, so you sometimes find yourself looking down at places you've already visited. There's a lot of interaction with townsfolk, and you can also play mini-games. Zelda fans will find themselves right at home with the familiar music and sound effects lifted directly from previous games. Ocarina of Time does have it's share of annoyances, like enemies that self-destruct after being killed, incessant beeping when your health is low, time-of-day related puzzles, and substantial backtracking. I didn't find it as fun or addicting as Link to the Past, but Legend of Zelda Ocarina of Time is highly regarded by most, and certainly a landmark title for the N64. © Copyright 2004 The Video Game Critic.