How Nintendo Tells Their Stories (and Sometimes Doesn’t.)

I’m realizing that I spend a lot of time talking about stories in games and how games tell stories. I’m a writer with an MFA in Creative Writing, so I suppose it stands to reason that this is the sort of thing I’d spend too much time thinking about. Part of the universal appeal of Nintendo and their games, I’d argue, is the LACK of narrative in the stories their games tell. Gameplay is universal, after all. I’ll perhaps get some angry disagreement from people reading this, but the truth is that the amount of story Nintendo puts into their games is minimal compared to what other developers, specifically Western developers, put into their games. Not only that, but the style of storytelling in Nintendo IPs tends to differ from franchise to franchise. Here’s a brief analysis of the various styles of storytelling adopted by some of Nintendo’s major franchises. (Note: I specifically say “analysis” as opposed to “overview” because there are some questions regarding the narrative nature of a few of these franchises, questions Nintendo doesn’t seem in a great hurry to clarify.)

Super Mario – Either Princess Peach gets kidnapped, like, once a week, or the scenario suggested by Super Mario Bros. 3 is true: the Mario games are performances, and the characters are all actors putting on a show for the player. Super Mario Bros. 3 is framed as a play, with a curtain rising on the title screen and falling after the game’s credits roll, not to mention platforms through the whole game being bolted in place and the various background structures casting flat shadows like two dimensional set pieces. Each level ends with Mario (or Luigi) running offstage into the darkened wings, for goodness sake. So the Mario cast is simply play-acting these adventures for us, and in their time off they like to get together and race go-karts, or play baseball, or maybe pile in a car and play a board game.

The Legend of Zelda – Around the time of Skyward Sword, Nintendo released a bat-poop crazy official Legend of Zelda timeline, seemingly to please the fans who had desperately been trying to figure it out on their own. In order to force contradictory games together, Nintendo split the Zelda timeline in three places, leading to three alternate realities where the events of different games could take place (and apparently, very quietly, they reunited the timelines last month by officially inserting Breath of the Wild at the very end of all three.) While certain games do seem to refer to past or future games, there’s an argument that people need to pay more attention to the word “legend” in the franchise’s title. Legends are passed down from generation to generation, changing and evolving over time. The base story of the Zelda franchise is almost always the same: a struggle for balance between three triangular shards of an all-powerful artifact, each with a designated bearer in the form of a boy dressed in green named Link, a princess of the royal family of Hyrule named Zelda, and a thief/sorcerer/pig-monster named either Ganon or Ganondorf. These elements remain fairly constant, but it’s the DETAILS in the telling that change over time. The games in the Legend of Zelda series are telling the same story over and over, more or less. They are representative of the multi-generational retelling of the prevailing legend of the Kingdom of Hyrule.

Metroid – Of the “big three” Nintendo IPs, the Metroid franchise has the most traditionally linear storyline. (It also has far fewer games to juggle than the Mario and Zelda franchises, to be fair.) Though not released in chronological order, each title in the main Metroid series fits neatly into a place, with the first two games in the franchise, Metroid and Metroid 2: Return of Samus each receiving remakes later in life that massaged their stories to better fit into the now-established franchise lore. Not only that, but the two volume Metroid manga that establishes the origin of series protagonist Samus Aran is largely seen as canonical, and slots right in at the front of the chronological list. (You can see the Metroid timeline order here.)

Pokemon – Again: this is not my area of expertise, but the mainline Pokemon games all seem to take place on one world map inspired by the Japanese islands, with each game taking place in a particular region; the nation of Japan is, of course, similarly divided into regions. Every game tells a similar story, more or less: that of a young Pokemon trainer trying to collect every type of Pokemon in their region. The ultimate Pokemon dream game is the game that will unite that world’s regions into one massive Pokemon adventure… or at least that’s what I’ve heard. This just isn’t my jam, yo.

Animal Crossing – All Animal Crossing games tell the same story: the tale of a town’s struggle to get out from under the oppressive thumb of their miserly raccoon landlord.

Fire EmblemFire Emblem games follow a similarly sort of weird rule of connection as, say, the Final Fantasy games: they all carry thematic and mechanical similarities, they all seem to take place in different unrelated worlds and kingdoms, but heroes from the different games seem to cross over from time to time into the worlds of other games. This is really a reminder not to take this stuff to seriously, y’all. They’re just games. (Note: some franchise fans will argue for a connected timeline that branches off into various epochs and eras, but honestly, what’s the point? See also: Xenoblade Chronicles.)

Donkey Kong Country – The chapters-long epic poem recounting the adventures of a bunch of monkeys as they try to reclaim their bananas.

Kirby – Who gives a <expletive deleted>?

Star Fox – The ongoing storyline of the Star Fox franchise seems to be: how many times can we reboot the storyline of the Star Fox franchise? And one time, with dinosaurs.

Splatoon – Yo, the Splatoon backstory is actually pretty messed up. I’m not getting too deep into it; it’s like some creepy-pasta Slenderman stuff. It involves human extinction, unchecked evolution, and a race war. Kotaku has more to say on it here.

Smash Bros. – It’s either the tale of children’s Nintendo toys coming to life to do battle (Smash 64), a multi-universe character hopping crossover (Smash Bros. Brawl: The Subspace Emissary), or the never-ending mission of a small group of gamers to keep the Gamecube controller relevant.

Dr. Mario – What am I even doing with my life?

Tetris – Let’s just wait for the three film trilogy to really shore up the story arc here.

Pikmin – Tiny plant monsters and… uh… astronauts collecting giant fruit… you know what? It turns out the lesson of this entire article is to just shut up and enjoy your games. Not everything needs to be connected, you know? Cripes. (The Pixar Theory is a bunch of malarkey, too.)

Like Fine Wine

The title of this post is a bad pun. See, this is a post about “ports,” which are games for one console that are transported as-are to another console or consoles. However, “port” is also a type of wine, so I’m saying that these ported games have aged as well as a wine has aged, which is to say they’ve aged very well.

The best puns are the ones you have to explain.

Last summer I decided, for no reason other than I decided to decide it, that after Pokken Tournament DX released Nintendo was going to call it quits on porting old Wii U games to the Switch. I honestly thought they’d be very eager to distance themselves from the disastrous former console ASAP, and move quickly to sweep Wii U under the rug. The only developers still working on Wii U games are indies dumping their quickie projects to the E-shop, and Ubisoft, and while the latter still publishes a Wii U version of JUST DANCE, it’s worth pointing out that they also still publish a Wii version of JUST DANCE. (Yes: a major publisher is still making Wii games as of October 2017.)

So, yeah, Wii U is done, and the quicker Nintendo forgets about it, the better. At least, that’s how I thought they’d approach Wii U’s legacy. Nintendo, as usual, seems to have had other ideas. Not only have Wii U ports NOT died out, but in recent months Nintendo is doubling down on them. Since Pokken Tournament DX we’ve seen released or announced BayonettaBayonetta 2Hyrule Warriors Deluxe EditionDonkey Kong Tropical Freeze, and Captain Toad: Treasure Tracker.

Is this good, bad, or just something? While on the one hand, it looks like Nintendo is leaning on Wii U ports to fill out a so-far slim 2018 Switch gaming line-up. On the other, these are all great games that came out on a console that absolutely flopped. Switch’s 2017 line-up was stacked: Zelda, Mario, Splatoon, and Mario Kart (itself a port) headlined a year of blockbusters that enticed gamers to jump on-board with the new hybrid console. 2018 was always going to slow down, at least pre-E3, and that’s certainly what we’ve seen. Consider, though: more people have already bought a Switch than ever bought a Wii U. Giving gamers the chance to experience a whole generation of great Nintendo games that so many of them missed can’t be anything but a good thing.

Hyrule Warriors was my second-favorite Wii U title, so I happily double-dipped. I don’t know that I’ll do the same for Captain Toad, and Bayonetta 2 still doesn’t do anything for me, but Donkey Kong: Tropical Freeze is the one Wii U game I missed that I regretted so I’m glad to get the chance to play it again. It’s also worth noting that most of these Wii U-to-Switch ports have some level of new content: Mario Kart 8 included a new and improved Battle Mode, Pokken Tournament DX introduced six new fighters that weren’t available in the Wii U version of the game, Hyrule Warriors Deluxe includes all of the DLC from the Wii U version of the game as well as all of the new content and DLC created for the 3DS version of the game, and Captain Toad will feature new levels based on Super Mario Odyssey‘s kingdoms.

What else will make the transition from Wii U to Switch? I’d be surprised if we didn’t see any 3D Zelda games get a port, whether it’s the much-beloved Wind Waker HD, or if Skyward Sword gets a port over from the Wii. Lots of Nintendo fans seem to think Super Mario Maker is a no-brainer, but I remain skeptical: it’s a fantastic title but its design is so reliant on Wii U’s Gamepad. Even with the Switch’s touchpad tablet screen, I wonder if the title really fits there. Super Mario 3D World is an easy guess, and they could decide to try and salvage Star Fox Zero… but like Mario Maker, the excellent Star Fox Guard seems as though it may be forever trapped on the Wii U. Xenoblade Chronicles X could make the leap, as could Pikmin 3, but the former’s superior sequel already exists for Switch and the latter’s sequel has been long rumored as in-development.

There aren’t many more Wii U games I’d need to see make the leap, honestly, and none of them are the no-brainer purchases for me that Donkey Kong: Tropical Freeze and Hyrule Warriors Deluxe were. After all, I’m one of those suckers that OWNED a Wii U. Still, bringing nearly the entire first-party Wii U line-up to Switch would be entirely defensible, and who would lose in that scenario? Not Nintendo, who gets to recycle little-played great games to pad out the line-up for their new hit console, and certainly not gamers, who get to experience an entire generation of Nintendo games they may have missed. The possibilities, quite frankly, are intoxicating.

Because a “port” is also a wine. Get it?

 

That’s So Meta

A brief mea culpa: I’ve been busy. As you may or may not know if you follow Me & Nintendo, I write a lot of stuff NOT about Nintendo. I mean, not here, but I do. To that end, I’ve been back in school pursuing a second Master’s degree, this one in Creative Writing. My thesis is due this week. It’s about done now, but, you know… that’s where I’ve been.

Mostly. I’ve also been playing Splatoon 2.

I love Splatoon 2. The biggest problem I have with Splatoon 2 is I’m trying to write a general Nintendo blog but I don’t want to play anything else but Splatoon 2. I’m so into Splatoon 2 that I tend to spend a fair amount of time scouring the Internet reading up on the metagame in Splatoon 2.

The “metagame,” as I’ve come to understand it in gaming parlance, is an umbrella term that refers to the underlying factors beyond the surface rule-set that dictate in-game results, particularly in a competitive online game. To understand the metagame of any online fighter or shooter, you’ll need to understand terms like “hit box” (the designated area in the virtual two or three dimensional space in which a “hit” is registered on an opposing character or item as a result of an attack), “frames” (a reference to the number of animation frames it takes for a player command to be executed), and other various damage percentages, respawn times, traversal speed, etc., etc. Splatoon 2‘s meta is easy to learn but difficult to master.

Every competitor in Splatoon 2 starts from the same base: each Inkling character model has the same stats irregardless of hairstyle, gender, or pants. If given a neutral playing field and no stat improvements, every Inkling would run at the same speed, swim at the same speed, absorb ink at the same rate, and so on and so on.

Stats are impacted by the “primary abilities” and “secondary abilities” on each of the three pieces of gear (headpiece, shirt, footwear) with which you equip your Inkling; each piece of gear has one primary slot and three secondary slots. The abilities in Splatoon 2 can increase your foot speed, decrease the amount of stored ink consumed by your weapons, increase the charge speed of your special weapon, decrease the amount of damage caused by stepping in enemy ink, decrease the amount of “splash” damage (i.e. damage caused not by direct impact from an opponent’s weapon, but by secondary impact, say from the outer edge of a Splashdown or by the indirect splatter from a Blaster shot), etc., etc. The primary abilities and secondary abilities are stackable… but secondary abilities are weaker than primary abilities and each new stack diminishes in effectiveness, essentially assuring that you’ll never be able to “max out” any ability to 100%. For example: attempting to run through enemy ink greatly slows your Inkling down, but if you equip gear with a primary ability of Ink Resistance Up, your Inkling will be able to run 10% faster across terrain covered in enemy ink. Add a second piece of gear with an Ink Resistance Up primary, and the ability stacks… but the laws of diminishing returns only allow the second ability to increase your speed in enemy ink by another 8%. Add a third, and it goes up by another 6%. Putting Ink Resistance Up in secondary slots starts your speed increase at 2% and diminishes from that point on. Courtesy of the Splatoon wiki Inkipedia, here’s a graph that charts the diminishing impact of each additional primary or secondary Ink Resistance Up ability:

The world is divided up into two types of people: those whose eyes glazed over at the prior explanation and the follow-up graph, and those who instead rolled those eyes and said, “Uh… we know. Who doesn’t?” But these conversations: the exact percentages to which “buffs” (gamer-speak for “improvements”) and “nerfs” (or “downgrades”) impact the metagame? These are the details upon which competitive gaming turns.

Truthfully, the diminishing returns from stacking abilities in Splatoon 2 dictate that no one ability is going to imbalance the game too severely… but as with most competitive online games, imbalances happen, and the player community finds them pretty quickly. Take the Tri-Slosher, for example. The Tri-Slosher is a bucket-type weapon that allows the player to hurl three bucketfuls of ink at once in a wide fan in front of them. The idea is that while it gives better turf coverage, the actual ink thrown is weaker than from the standard Slosher, which throws a narrower stream of ink slightly further, and straight ahead.

However, when Splatoon 2 was first released, the Tri-Slosher’s ink throw was only slightly weaker (in terms of percentage of damage dealt) to that of the Slosher. Combined with its wider arc of ink distribution the Tri-Slosher quickly became the serious Splatoon 2 player’s go-to weapon. It was like walking around the battlefield with an “Instant Splat” button. So in an update patch to the game, patch 1.3.0 to be precise, the Tri-Slosher was “nerfed”: the developers reduced its damage output by 10% and reduced its throw range by 9%. It doesn’t seem like much, but it was enough to knock the Tri-Slosher off of the list of top tier weapons. In fact, the patch SO nerfed the Tri-Slosher that update patch 2.0.0 would eventually buff the weapon’s peak damage output BACK to where it had started, while keeping the 9% range nerf in effect.

And this is how the developers of competitive online games continuously work to balance the metagame.

I don’t run a YouTube “Squid Research Lab,” and I’m not running side-by-side comparisons of how each stacked ability buffs or nerfs a particular aspect of the game. I do, however, have my favorite abilities. I like to pair Ink Resistance Up and Bomb Defense Up, defensive abilities that help me survive in the higher ranked rounds full of high-level, top skill players. That’s my current go-to combo, but that combo changes. A lot. I also like the abilities that buff ink usage: Ink Saver (Main) and Ink Saver (Sub), which decrease the amount of ink used by your main weapon and sub weapon, respectively, and Ink Recovery Up, which increases the rate at which your Ink Tank refills (although just recently while studying the meta I realized that Ink Recovery Up is nowhere near as effective in Splatoon 2 as it was in Splatoon. I may start backing away from that. Hmmmm…) Other favorites include Special Charge Up, which increases the rate at which your special weapon charges as you ink turf, and a headgear-only primary ability, Tenacity, which charges your special weapon faster relative to the amount of competitors fewer your team has on the field than the opposing team.

Did I say this was simple?

The real metagame lies not with gear, but with weapons. Like all good competitive shooters, Splatoon 2 is balanced in such a way that there isn’t one weapon that dominates the field. And if one emerges, as the Tri-Slosher did for a time, it gets re-balanced by the developer, the sort of thing that can only happen in the age of online gaming. (Game developers take a lot of crap for releasing buggy games that need post-launch patches, and rightfully so. But the ability to adjust the competitive balance of a player-vs-player game post-release is one of the best parts of the Internet age of gaming.) Splatoon 2 has a LOT of weapons and weapon types. I have spent way too much time figuring out my favorites. Here’s some commentary them:

Splash-o-Matic – For some reason, in the first Splatoon, I hated the Splash-o-Matic. I can’t remember why but I never did well with it. So in Splatoon 2, I ignored it until literally a few nights ago. I’ve spent all of Splatoon 2 trying to fine a “main;” a weapon I could default to. In Splatoon that weapon was the Aerospray, but in the more aggressive and combat-focused Splatoon 2, an inking-focused weapon like the Aerospray (wide spray, short range, weak impact) leaves you vulnerable. So in my frustration at not being able to find “the one,” I turned to the Splash-o-Matic. I did so because I realized: I hate going up against players wielding the Splash-o-Matic. Why is that? After a round or two of using I realized it’s because the Splash-o-Matic has the highest rate of fire in the game, and the most accurate ink stream of any shooter. Seriously, it’s like shooting with a fire hose. I was knocking out Brella shields left and right with ease. So right now, and these things are always subject to change (especially since I’m not crazy about the sub-weapon load out on either of the two Splash-o-Matic options), but right now? I’m maining a Splash-o-Matic.

Clash Blaster – The original appeal of the blaster-type weapon was that it offered a one-shot kill that fires faster than a charger type weapon (but slower than a shooter), and at  mid-range instead of at long range. The Clash Blaster ignores that profile: it’s a rapid fire short-range blaster that takes three hits to kill. It has become very popular, though, especially because like all blasters, the Clash Blaster’s pellets damage outward from their explosion points. They’re the perfect weapon for firing directly up onto the tower in Tower Control and popping an Inkling you can’t even see. Also, the Clash Blaster is the only lightweight blaster (all of the others hinder movement to some degree) and its rate of fire is such that it’s hard to escape the second and third blasts after you’ve been slowed by the first. The Clash Blaster is derided among some serious Splatoon 2 players as requiring little to no skill… but it’s in the game, and if it’s in the game, it’s fair game.

E-Liter 4K Scope – The E-Liter 4K Scope is the most powerful charger (Splatoon‘s version of sniper rifles) in the game, with the longest available range. I enjoy picking up an E-Liter from time to time and going with it, but I’m not as talented with it as the point-perfect Japanese charger players. Really, I’m only effective with it on certain maps and in Tower Control and Splat Zone modes, two modes where you know enemy Inklings will be semi-contained in specific areas and therefore easier to track.

Heavy Splatling – The original gatling-type weapon, the Heavy Splatling offers a good defensive alternative to the more unwieldy E-Liter. I’ve made good use of it in Clam Blitz and Rainmaker, using it in concert with its Ink Wall sub-weapon to both defend my team’s goal and help a teammate carrying the Rainmaker or Super Clam advance to the enemy goal. Wielding the destructive power of the Heavy Splatling and rat-a-tat-tatting an Inkling or the Rainmaker Shield into oblivion is one of the most satisfying actions you can take in the game.

Jet Squelcher – The Jet Squelcher is my long-range shooter of choice. Less powerful than the .96 Gal or Splattershot Pro but with a much longer reach, the Jet Squelcher is great for holding turf in Splat Zones or for splatting the Rainmaker carrier at a long distance. There aren’t many weapons that can outreach the Jet Squelcher, and it comes alongside my favorite special weapon: the multi-enemy targeting Tenta Missiles.

Glooga Dualies – One of Splatoon 2‘s biggest additions was the dualie class of weapons, double-fisted pistols that enable a dodge roll while firing. Dualies are popular, but the Gloogas are not. I like them because, frankly, I enjoy the dodge rolling aspect of the Dualie class but I have trouble getting used to it. The Glooga Dualies feature a slower, more controlled version of the roll, and as an added bonus: after rolling, the Gloogas combine their streams into a longer range, more powerful ink burst until you move again.

Splattershot Jr. – This is the weapon you star Splatoon 2 with, and even far too many hours into the game I find it to be the best of the short range shooters: great rate of fire, nice ink coverage, moderately powerful, conservative ink usage… and they come equipped with the triangular splat bombs, the game’s signature (and best) sub-weapon.

 

Splat Bombs & Tenta Missiles – I’ve already referenced these throughout, but this is my favorite sub weapon and special weapon. The splat bombs will arm as soon as they touch the ground and explode just a heartbeat after that, faster than suction, auto, and curling bombs, and much harder to avoid. Tenta Missiles are the most annoying of the Splatoon 2 special weapons (followed closely by Ink Storm and the Stingray), as they lock onto you and force you to move out of whatever position you may have been holding.

That’s all for now. I also enjoy the Sploosh-o-Matic, the Octo-Brush, and the Range Blaster, but right now my go-to’s are the weapons I’ve listed above. I figured it was about time for this deeper dive into Splatoon 2‘s meta for one reason and one reason only: My Splatoon 2 total playtime has just passed my total playtime for Breath of the Wild.

I really do love this game.

The Quilling Fields

Right off the bat, I’ll explain that “The Quilling Fields” is a pun. The Killing Fields is an award-winning 1984 film, and a quill is a repurposed goose feather used for centuries as an ink-delivery instrument; the pun is meant to suggest that Splatoon 2, an arena-based shooter in which ink replaces bullets, features a great deal of aggressive confrontation.

I’ll admit: it’s a bit of a reach.

The pun is also not the point. The point is that Splatoon 2 is here and the first Splatfest (Splatoon‘s monthly competition event) has happened, and now that we’ve really had time to dive in we can start figuring out just how different Splatoon 2 is from its predecessor.

On the surface… well, it isn’t any different. The basics of Turf War, Splatoon‘s bread-and-butter, remains the same: two teams of four inklings splat it out over the course of three minutes to try and cover a map with their team’s color of ink. There’s also a solo campaign that plays very much like the solo campaign of the first game, a Ranked Battle that consists of three different modes, all returning from the original game, and then a horde mode, branded as the game-within-a-game of Salmon Run. Aside from Salmon Run, Splatoon 2 seems a whole lot like Splatoon, right down to the recycled weapons and gear you can buy for your inkling. In fact, the only real differences lie in special weapons (all new, no returning) and the maps (two reworked from the first game, and six new.)

So you start playing Splatoon 2‘s Turf War, and it feels like Splatoon. And you play, and you play, and you play some more, until finally, you realize… something’s different. You can’t put your finger on it, maybe, but… this game feels faster, more aggressive, more VIOLENT than Splatoon. Yes… yes, you’re quite sure of it. The problem is, you can’t figure out WHY.

And then you look at the maps.

So let’s do some compare and contrast. From Splatoon:

Urchin Underpass is a series of winding passageways and fences joined in the middle by a ravine filled with trees.

Walleye Warehouse is a long, narrow stage with secret side passages tucked away to the left and the right for flanking.

Arowana Mall is similar to Walleye Warehouse: long and narrow with side-passages and elevated walkways.

Saltspray Rig is a series of narrow walkways and lifts running south of a wide, open area at the top of the map.

Blackbelly Skatepark is a series of peaks and valleys with two large, rounded ends on either side.

Now let’s look at the Splatoon 2 maps:

The Reef is a square.

Starfish MainStage is a square.

Inkblot Art Academy is two squares very slightly overlaid with each other.

Sturgeon Shipyard is a rectangle.

Humpback Pump Track is a rectangle with a slight bubbling in the middle.

Musselforge Fitness sucks. Also, it’s a square with two little outcroppings.

You see the difference? Whereas Splatoon‘s maps were all sorts of crazy shapes and sizes, the initial launch maps of Splatoon 2 are, more and less, big and open square-ish shapes. In most of Splatoon‘s maps you could run and swim and hide in nooks and crannies that were tucked away all over; the common Splatoon mantra of, “You could play a whole game and never see an enemy,” actually applied. Splatoon 2‘s maps, though, are designed to push opposing teams together. On Splatoon 2‘s maps (and this may change as more DLC maps become available) there are very few places to hide, especially as compared to Splatoon.

The result of this? Splatoon 2 is a game that (though the actual movement physics of the player characters may not be any faster than in its predecessor) is played in arenas that encourage conflict and clashes with the enemy. A lot of the “you can run and hide” element of the original Splatoon is gone from Splatoon 2. Smaller, more open maps also means that the tide of battle can change very quickly; just because your team is losing a Turf War battle in Splatoon 2 with 10 seconds left in the match doesn’t mean you’ll still be losing when time runs out.

Another thing the Splatoon 2 map designs avoid are bottlenecks. In the first game, Arowana Mall and Saltspray Rig had natural lock points that got swarmed with inklings, and whichever team threw the most combatants at the bottleneck tended to win the match. Walleye Warehouse was one of my favorite Splatoon maps, and upon reflection I realize it’s because the entire stage was a bottleneck; with the proper load-out and enough ink coverage it was relatively easy to hold the line in Walleye Warehouse all by yourself.

A lack of natural in-stage bottlenecks has resulted in a terrain-based nerf of one of Splatoon‘s most popular weapon classes: the Charger. While I presume the Japanese game is still loaded with deadeye sniping (unlike Splatoon, which ran on international servers; Splatoon 2 runs on regional ones), Charger use has steeply declined, at least in the North American game. And lest you think this is all just coincidental, that I’m reading into these early maps too much, I’d like to direct your attention to the weapon that has skyrocketed in popularity: the Aerospray.

The Aerospray was known in Splatoon as THE go-to painting gun. It featured an incredible rate of fire and ink coverage, but individual shots were weak and the gun’s range was roughly 33% shorter than that of the comparable N-Zap. I used the Aerospray more than 50% of the time in Splatoon, and decided to use a more aggressive weapon when I started up on Splatoon 2. Given my hours and hours and hours and hours of experience with the Aerospray, I was in a unique position to realize that opposing Splatoon 2 players were splatting me with it from well further out than the Aerospray should allow. That, I realized upon retreating to the test range, is because the Aerospray now has a reach equivalent to that of the N-Zap, and the Sploosh-o-Matic, a weapon that had practically zero range in Splatoon, now has range equivalent to that of the first game’s Aerospray, at nearly double the attack power. And while I’m nowhere near as well-versed in the Sloshers and the Ink Brushes as I am the Aerospray, I would swear that the range on those weapons has been boosted as well.

Between the increase in range for these guns and the maps purposely designed to promote team-vs.-team conflict, I think it’s pretty clear that the Splatoon 2 development group decided to push a greater emphasis on combat than was done in Splatoon. Splatoon, though, wasn’t exactly a conflict-free game, so if you bump that up the Splatoon 2 experience becomes that much faster, that much more frenzied, and (although inklings immediately respawn upon being splatted) that much more lethal.

Hence: the Quilling Fields.

Okay, it doesn’t work.

Featured Image source: https://www.imore.com/how-get-started-playing-splatoon-2-handy-tips-and-tricks-beginners