Song Review: Brad Paisley, “Last Time For Everything”

There’s a “Last Time For Everything,” including Brad Paisley’s run as an country superstar. That time, however, is not now.

Paisley’s chart performance has been tailing off ever since the rise of Bro-Country, and even with more-traditional sounds flooding the charts, he has struggled to regain his former glory. At this time last decade, Paisley was in the middle of an incredible 10-song Billboard No. 1 streak, but “Today,” his leadoff single from his latest album Love And War, required creative accounting just to make it to No. 1 on Mediabase, and was blocked from the top slot on Billboard by Jon freaking Pardi. (Pardi gets credit, however, for also keeping Michael Ray’s disgusting “Think A Little Less” from Billboard’s top slot.) “Last Time For Everything” is Paisley’s second single off of Love And War, and like Luke Bryan’s “Fast,” the song is a tacit acknowledgement that Paisley’s run of dominance may be ending, while also declaring that it won’t be ending right away.

Paisley has many gifts (singing, songwriting, guitar-playing), but he also has a knack for production that fits nicely into modern trends while still remaining undeniably country. His signature electric guitar is the prominent instrument here, and the melody has a distinctly 80s vibe to it that brings to mind the iconic riff from The Police’s “Every Breath You Take.” Despite this, Paisley keeps the foundation of this song rooted in traditional country, using real drums, steel guitar, banjo, and even the occasional mandolin stab (why no fiddle though?) to slowly build and maintain energy throughout the song. The song also features an interesting balance of light and darkness, as the frequent use of minor chords is countered by the bright tones used on the chorus and bridge. Throw in Paisley’s usual guitar wizardry, and you’ve got an impressive-sounding track that stands out for the usual radio noise.

The vocals here are ripped from the typical Paisley playbook. He stays mostly within his comfortable range but takes a moment or two to show off (his falsetto on the “Purple Rain” part is pretty impressive), he maintains a decent pace without overextending himself, and he brings his usual earnestness and charisma to make the song believable and relatable. Paisley has a knack for connecting with listeners on an emotional level, and while I wasn’t quite feeling it on “Today,” “Last Time For Everything” roped me in quickly and never let go, despite the fact that I hadn’t experienced half the events he mentioned for the first time, let alone the last time.

On the surface, the lyrics here aren’t that impressive—in fact, you could almost call this track a checklist song, as the narrator simply lists a whole bunch of events that inevitably stop occurring. However, I would argue that this song is an upgrade over his prior single “Today” for two reasons:

  • Unlike the vague, generic wording of “Today,” Paisley dives deep into specific imagery here, and while he leans on “stock” experiences (especially from high school, like football and prom), he even throws in a few unique and interesting scenes, like haircuts before male-pattern baldness and being woken up by his kids to see what Santa left them.
  • Instead of taking the obvious route of lamenting what was and never will be again, Paisley maintains the optimism of “Today” and implores the listener to celebrate the present, because you may never get another chance. Additionally, while some of the experiences he lists are sad to see go, he even includes a few in which the situation gets better in the future (for example, the reason he can’t call a woman his fiancée anymore is because she became his wife!).

If you read between the lines a little bit, you get the sense that Paisley is starting to look back on his career and realize that his time at the top, much like his time in high school and opportunities to hang out with Little Jimmy Dickens, is not only finite, but closer to the end than the beginning. Paisley’s been in the game for eighteen years now, and the young guns are not only nipping at his heels, but (as seen with Pardi’s Billboard block) actively shoving him out of the spotlight. With “Last Time For Everything,” Paisley accepts that his mainstream career may be numbered, but also brings everything he’s got to bear to make a strong statement that he isn’t ready to walk away just yet. (That statement extends to his entire Love And War album, which I would call his best work since 2005’s Time Well Wasted.)

Overall, “Last Time For Everything” is a great song on a number of levels, and shows off everything that people love about Brad Paisley. Paisley’s days as a country A-lister may be numbered, but he’s still got some good years left in him, and I’m going to sit back and enjoy them.

Rating: 8/10. Definitely check this one out, and give Love And War a look as well.

Song Review: Reba McEntire, “Back To God”

To me, the worst thing a gospel song can be is preachy, because having someone telling me that I must do something is the quickest way to get me to not do it. Unfortunately for Reba McEntire, “Back To God” is the preachiest song I’ve heard in a long time.

I’m honestly surprised by how quickly McEntire seemed to disappear from public consciousness. Not only did she have a long musical career on par with artists like Alan Jackson and George Strait (both of whom seem to get name-dropped and credited way more than McEntire these days), but she also headlined a successful TV show for six seasons and even had a brief movie career. Now 62, McEntire is in the do-what-I-want-when-I-want phase of her career, and has released “Back To God” as a single off of her recent gospel album Sing It Now: Songs Of Faith And Hope. Religious songs have long been a staple of the country genre, but they’ve become less prevalent as religion has gotten wrapped up in today’s hyper-partisan political climate, If done well, these songs are inoffensive and sometimes even enjoyable (such as Craig Campbell’s recent “Outskirts Of Heaven”). If done poorly, you end up with a song like this.

The production here is the kind of standard neotraditional mix you might have heard in Reba’s 90s heyday, with real drums, steel guitar, piano, and a melody driven by acoustic and electric guitars (the former handled the duties initially, and the latter takes over for the choruses and bridge). While there aren’t many minor chords included, the guitar tones are slightly dark, and create an unsettling vibe to match the song’s imagery. There’s nothing particularly memorable about the sound (in fact, I’d call in borderline-generic), but it does its job by not getting in the way of the song’s message.

Reba’s calling card in her prime was her powerful voice, and it still sounds remarkably good in 2017. The verses keep her constrained to her lower range, and while she sounds okay there, she seems much more comfortable when she’s able to turn herself loose and show off her range and volume on the choruses. However, while McEntire is a charismatic singer, selling a religious message like this one to a highly-skeptical audience is a tough task even for an accomplished veteran singer, and she doesn’t quite pull it off here. McEntire rose to fame more as a storyteller (think “Fancy,” or “The Night The Lights Went Out In Georgia”) than as a “call to action” singer (that was always Martina McBride’s turf), and she’s out of her element just enough here to keep her from sticking the landing.

As for the lyrics and themes, this song’s problems can be explained in one word: assumptions.

  • The images here attempt to paint a bleak picture of the world, one full of danger and despair. The problem is that these images are so vague and generic (mamas crying! innocents dying!) that they don’t have any real impact, and they assume the listener will fill in the blanks instead of providing specific details. Instead, the song leaves the listener with a bunch of unanswered questions (Who? What? Where? Why?) that obfuscate the song’s message.
  • Similarly, the song declaration that returning to a strict religious worldview will solve all of these problems is simplistic and unconvincing. The song expends no time or effort explaining exactly how turning “back to God” will stop mamas from crying, mend broken hearts, and make kids any safer. Like with its dim view of the world, the song assumes you know what’s it talking about, and offers no defense for its position to those who are skeptical.
  • Finally, the song declares confidently that turning “back to God” is the only possible solution, and adopts a preachy, almost confrontational attitude as it demands that we all hit our knees and pray for a better tomorrow. That sort of my-way-or-the-highway attribute might be acceptable in the gospel genre, but it doesn’t fly in the mainstream. Religion is a divisive topic, perhaps now more so than ever, and the phrase “we gotta give this world back to God” means different things to different people (and a lot of people, myself included, would rather not see this happen.) The song assumes that its view is accepted and uncontroversial, when in reality nothing could be farther from the truth.

“Back To God” might be a passable gospel song, but it’s a lousy country track that doesn’t hold up against the scrutiny its subject matter invites. Country listeners don’t mind invitations to cry, laugh, or think critically about topics, but a song this demanding and self-unaware doesn’t go over well with anyone. I’m not willing to give this world back to God, but he can take this song if he wants it, because I don’t.

Rating: 3/10. Steer clear of this one.

What Games Should An SNES Classic Include?

Image From Nintendo Wikia

For all of its awesomeness, the NES Classic went out on a sour note, as several months of scarcity were capped by a brief statement declaring that its production run had been ended. The sudden, unceremonious end of the Classic led to a lot of speculation as to why Nintendo would pull the plug on what appeared to be a hot item, almost at hot as its current Switch console.

Now, however, Eurogamer is reporting that the end of the NES Classic was inevitable, as Nintendo is planning to release an SNES Classic this holiday season and required the NES Classic’s production resources for its newest Classic release.

Speculation over what games the SNES Classic might include has been going on ever since its predecessor was released, but it’s still exciting to think about the possibilities given the incredible library of games released for the system. Here are my suggestions for the roster:

The No-Brainers:

  • Super Mario World
  • Super Mario World 2: Yoshi’s Island
  • Super Mario Kart
  • The Legend Of Zelda: A Link To The Past
  • Donkey Kong Country
  • Donkey Kong Country 2: Diddy Kong’s Quest
  • Donkey Kong 3: Dixie Kong’s Double Trouble!
  • Super Street Fighter II Turbo

No surprises here: You want to move systems, you bring out the big franchises. SMW, Mario Kart, DKC, DKC 2, and Zelda are five of the six best-selling SNES games of all time (and the sixth in an earlier version of Street Fighter). DKC 3 could perhaps be debated (do we really need three DKC games?), but the entire trilogy was pretty strong, so I added it here for completeness.

The Would-Be-Nicers:

  • Star Fox
  • Super Mario All-Stars
  • Kirby’s Dream Land 3
  • Ultimate Mortal Kombat 3
  • Mega Man X
  • Mega Man X2
  • Mega Man X3
  • Ken Griffey Jr.’s Winning Run
  • NBA Jam Tournamanet Edition
  • The Lost Vikings
  • The Lost Vikings II
  • Mortal Kombat
  • Mortal Kombat II
  • Super Punch-Out!!

Star Fox was the start of one of Nintendo’s great franchises, and fans that are fed up with Star Fox Zero‘s motion controls deserve a little gift here. Super Mario All-Stars already came out (mostly) for the NES Classic, but given how few people were able to obtain that system, it makes sense for the expanded, remastered version to appear here. Kirby 3 and MK 3 are included as the best representative from their respective franchises, and at least two of the Mega Man X series deserve to be included here. Ken Griffey Jr. and NBA Jam were some of the best sports titles available for the system (and given the paucity of sports titles coming to the Switch, it would be nice to throw sports gamers a bone here). Finally, The Lost Vikings series was an underrated puzzle adventure series (probably one of the two is enough here, though), and Mortal Kombat and Super Punch-Out team up with Street Fighter to ensure the fighting genre is well-represented on a pre-Smash Bros. console.

The Forgotten Franchises:

  • Super Metroid
  • F-Zero
  • Pilotwings

It’s time to remind modern gamers that Samus Aran and Captain Falcom were more than just Smash Bros. fighters once upon a time. Pilotwings is a small-but-successful flight simulator franchise that deserves to be remembered.

The RPGs:

  • Mario RPG: Legend Of The Seven Stars
  • Final Fantasy V
  • Final Fantasy VI
  • Secret Of Mana
  • Chrono Trigger
  • Dragon Quest V
  • Dragon Quest VI
  • Breath Of Fire
  • Breath Of Fire II
  • Lufia & The Fortress Of Doom
  • Lufia II: Rise Of The Sinistrals

The Super Nintendo held the title of “greatest RPG console” long before the 3DS did, and Mario RPG, FF, Secret Of Mana, Chromo Trigger, and Dragon Quest are just as beloved today as they were back then. The Breath of Fire and Lufia series have mostly faded into obscurity, but they were fun games that deserve a little recognition.

The Longshots:

  • Mario Paint
  • Mario Is Missing!
  • Mario’s Time Machine
  • Super Game Boy?

Mario Paint would be an awesome game to include, but it would require either a) a special mouse peripheral to be included, or b) a PS2 or USB port for a standard PC mouse to be included in the hardware, so Mario Maker is probably as close to a comeback as it’s going to make. Mario is Missing and Mario’s Time Machine were novelty educational games that really only deserve to be remembered for how weird they were. A “Super Game Boy Classic” with some pre-loaded Game Boy games would be an interesting inclusion, but the SNES library is strong enough on its own and Nintendo will probably want to release a separate Game Boy Classic separately in the future.

The Hardware:

  • A slot for SNES cartridges!
  • A Virtual-Console-esque connection!

Adding a slot for people who still have their old games would solve some of the ‘what games to include?’ problem (You want to play your old copy of Pitfall or NHL ’96? Just plug them in!), and a VC connection to allow for some DLC updates (i.e., more games!) in the near future.

A mini SNES is guaranteed to be a huge hit, regardless of what games are included. Let’s just hope Nintendo makes enough of them to meet demand this time.

Song Review: Eric Church, “Round Here Buzz”

This song is a great example of what country music should be. It’s just not a great example of how country music should sound.

Eric Church is the rare artist who has garnered a fair bit of mainstream success while also earning the respect of critics and the independent music scene. His 2015 album Mr. Misunderstood was a staple on 2o15 “Best Country Album” lists (and won the 2016 Album of the Year from the CMAs), while its three singles have all cracked the top fifteen on Billboard’s country airplay chart (including the outstanding “Record Year,” which reached No. 1). “Round Here Buzz” is the fourth single from the album, and while it still features Church’s usual wit and perspective, it doesn’t quite measure up musically to his prior work.

The production on this track is unimpressive, to say the least. It suffers from the same problem that much of Miranda Lambert’s last album did: Namely, it sounds like it was taken from a live recording using mediocre musicians and sub-par equipment. The mix is unsettlingly sparse to start, with only the drums present during the first verse, and Church’s vocals are so low at this point that it’s hard to make out what he’s saying. The guitars finally jump in on the first chorus and the track finally starts to sound like a real song, but the sparsity re-emerges on the second verse. The electric guitar should be doing a lot more to carry the melody, but given the instrument’s amateur performance on the bridge, I’m not sure it could have done the job in the first place. While the entire mix sets a suitable melancholy mood for the track, it achieves this partially through the disappointment created by how bad it sounds.

Thankfully, aside from the volume issues, Church sounds like his usual, rough-edged self on the track. His voice is constrained to its lower range by the song (which is probably for the best, as he seems to strain for extra volume at higher pitches), but his flow and delivery are solid, and don’t get in the way of the song’s message. While Church has never been the most emotive singer in the genre, he captures the weary longing of the song’s narrator perfectly here, and has enough charisma (and practice) to play the role convincingly.

The songwriting is easily this track’s best asset, as it feels both generally poignant and particularly timely. On the surface, the song is about a guy who’s trying to drink away the memory of a girl who left town ages ago, and it’s fairly effective on that level alone. However, the song has hints of deeper forces that are at play, like urbanization and the slow decoy of rural areas. In most songs like this, the girl has left to chase a dream of some sort, like in Dan Seals’s “Everything That Glitters (Is Not Gold),” or Big & Rich’s recent “California.” The girl who left here, in contrast, just went “where the high risers rise” in search of a “penthouse palace,” mirroring the trail many young, educated millennials (myself included, actually) are following towards the wealth and glitz of the city. In contrast, the narrator’s “one stoplight” town where the bar has “no gas in his neon light” paints a picture of the despair left in the wake of these departures. While one could question the decision of the narrator to stay behind (if Tim McGraw could go with his love interest in “Just To See You Smile,” why couldn’t you?), it doesn’t make the images here any less resonant. It’s the kind of societal mirroring I wish country music would do more often, and it’s a darn shame such a well-written song is weighed down by awful production.

“Round Here Buzz” is a cleverly-crafted song that captures small-town America in a way that few songs do anymore. It’s also a song I don’t really enjoy listening to because the production is so darn frustrating to put up with. Your mileage may vary, of course, and if you can stomach the sound, this will be one of the most interesting songs you’ll listen to all year.

Rating: 6/10. It’s worth checking out at least a few times at least, and if you can get past the song’s production, you’ll probably enjoy it.

Song Review: Glen Campbell, “Everybody’s Talkin'”

Since I reviewed Maren Morris’s “I Could Use A Love Song,” I’ve given out just one review score outside the 4-6 range…and that was to Rick Astley. I’m getting tired of listening to mediocre music, and could really use a song that actually moves me for a change. Thankfully, the original “Rhinestone Cowboy” has got me covered.

At nearly 81 years old and suffering from Alzheimer’s disease, Glen Campbell has literally forgotten more about country music than most of us will ever know. While he’s now several decades removed from his commercial peak, he’s continued to pump out songs and records at a decent pace, and even won a Grammy in 2015 for his last single “I’m Not Gonna Miss You.” While “Everybody’s Talkin'” is not an official single from his upcoming album Adiós, it’s been released as a sort of promotional single, and given some of the stuff I’ve been listening to lately, a promotional single is close enough for me to check it out.

Production-wise, this is a surprisingly-upbeat and uptempo song, featuring the most banjo-picking you’ll hear outside of bluegrass. Everything else here—the real drums, the steel guitar, the piano, and whatever else is hiding in the background—takes a backseat to the bright and steady banjo roll, which gives the song a lot of energy without becoming repetitive or boring. I get a strong “Gentle On My Mind” vibe from this song, and if Campbell’s team did release this song to country radio, and would certainly stand out from (and tower over) its competition.

Vocally, Campbell not only sounds better than any 80-year-old has a right to, but I would argue his voice still compares favorably to the current radio titans of the genre. His range is beyond impressive (he even jumps into his falsetto at the end without breaking stride), his delivery is on point, and his charisma lets the listener feel the positivity and optimism on every note. While there are some odd-sounding moments in the track (Campbell’s mimics Harry Nilsson’s 1968 performance of the song almost note-for-note, and the “wah-oh-wah” interlude after the first verse feels a bit out of place), Campbell absolutely owns this role, and if time has taken a few miles per hour off of Campbell’s fastball, you’d wouldn’t know it by this track.

“Everybody’s Talkin'” is solid from a lyrical perspective, but what really elevates the song is how perfectly it dovetails with Campbell’s current condition. When Fred Neil originally wrote the song in 1966, the narrator was intended as a bitter, overwhelmed soul who wished to retreat from society and spend their days on the beach in isolation. With Campbell, however, the retreat is being forced upon him by his disease, and he chooses to face the end with optimism rather than bitterness, confident in knowing that his legacy “won’t let you leave my love behind.” Much like with Trace Adkins’s “Watered Down,” Campbell’s history is the perfect marriage between singer and song, and he makes a song written over fifty years ago feel autobiographical, as if it was written just for him.

Overall, “Everybody’s Talkin'” is an excellent song that is good enough to go toe-to-toe with anything on country radio today. Campbell may not be remembered in the same breath as Willie, Waylon, Merle, and Johnny Cash, but this track is an emphatic statement that he deserves to be.

This is a song that everybody should be talking about.

Rating: 9/10. You should check this out, but more importantly, Big Machine Records should release this as a proper single.

Song Review: Jake Owen, “Good Company”

Unfortunately for Jake Owen, it seems that the winds of change in country music are not blowing in his direction.

Owen’s last single “If He Ain’t Gonna Love You” currently holds the record for the worst rating I’ve ever given a song, and the track mercifully ended up crashing and burning in the high 30s on the Billboard airplay chart. With the genre shifting back towards more-traditional material and Owen himself on record saying that he’d like to “make music that means something to people,” (granted, he said that before releasing “Real Life” and “If He Ain’t Gonna Love You”) I wondered whether Owen would take this opportunity to release something deeper and more substantial to country radio. Instead, we got “Good Company,” a sleazy island-flavored track that finds Owen plowing the same old ground he’s been working for the last decade.

Production-wise, this song sound like what would happen if Jimmy Buffett decided to try his hand at Bro-Country. The melody is shared between an electric guitar and a ukulele, the percussion is a mixture of real, synthetic, and island-flavored drums, and a horn section is draped over the whole thing for flavor. The mix is going for a relaxed, easy-going vibe, but it’s a little too uptempo to capture that feel, and the prominence of the horns and the electric guitar’s bright tones makes the song feel a bit sleazy, like it was stolen from the soundtrack of a pornographic film. Unfortunately, the seedy feel of the track doesn’t stop at the production, and instead seeps into the rest of the song.

To be fair, Owen isn’t really the reason this song veers into the ditch—in fact, he’s probably the only redeeming part of the song. He demonstrates good range, a decent flow, and his exceptional vocal charisma is on full display. The problem, however, is that his charisma works against him just as it did on “If He Ain’t Gonna Love You,” as he seems a bit too believable as a lazy beach bum who wants (nay, demands) a beer to drink and a girl to make out with.

If Owen is the highlight of the song, the lyrics are definitely the lowlight. Just take a look at this poetry:

We’re in good company
Yeah, the only thing missing
Is a pretty girl sitting next to me
Kissing up on me, and I got a spot waiting on you
So B.Y.O.B, it means bring yourself over, babe
Got what we need to make good vibes, good times
And a damn good memory
We’re in good company
Yeah, yeah we’re in good company

It’s not Florida-Georgia-Line “Sun Daze” bad, but it’s pretty close.

The narrator comes off as a real creep here, and while he’s not as bad as the girlfriend-stealing slimeball from “If He Ain’t Gonna Love You,” his requests to the object of his affection to “kiss up” on him and jump in the pool sound more like orders than suggestions. (Also, the references to other people being around make the whole event sound like one giant orgy.) Combine the sub-par lyrics with the sleazy production, and you’ve got a recipe for disaster no matter who the singer is. Owen’s been putting out party material like this his entire career (“Barefoot Blue Jean Night,” “Beachin'”), but his parties are rarely this bad.

Overall, “Good Company” is a step up from “If He Ain’t Gonna Love You,” but it’s still a pretty bad song, and it feels very dated and out of place on the radio today. (It’s more “Outta Style” than even Aaron Watson’s dated pop culture references.) It’s a sleazy summer jam surrounded by much better competition, so do yourself a favor and find some better company than this track.

Rating: 4/10. Skip it.

My Reaction To The Nintendo Direct

Yesterday, Nintendo presented a long-overdue Nintendo Direct outlining their game lineup for the next few months. While the main focus was on its upcoming Switch titles ARMS and Splatoon 2, the company also released a ton of information on other games and hardware. Here are my early impressions on the presentation:

  • Overall, I really liked the format of the presentation. The outlines gave people an idea of what to expect, the games were grouped into logical categories, and the time was divided up to keep the focus squarely on the major titles. However, I wish the general 3DS and Switch sections had been a little slower and less rapid-fire, as I had trouble keeping up with all the announcements and vitally lost some of them in the shuffle. Expanding the presentation to 40 or 45 minutes and slowing down at those points would have helped a lot.
  • I mentioned in my E3 post that Nintendo needed to lay out the future of the 3DS, but instead they decided to do it here…and honestly, I was really surprised by the amount of content coming to Nintendo’s older handheld. In particular, it’s a good time to be an RPG fan with a 3DS, as no less than six role-playing games were discussed in the 3DS portion of the Direct (and a seventh had a new DLC announcement). As someone who likes as many customization options as possible in a game, I was most intrigued by Miitopia (because everyone’s boss deserves to be a pop star) and RPG Maker Fes (Super Mario Maker on steroids!), but the new Monster HunterYo-Kai Watch, and Ever Oasis had their moments as well. (I’m a bit concerned for Ever Oasis, however: It was billed as an exciting new IP not that long ago, but it failed to stand out in the Direct’s crowded field.) With these announcements, Nintendo made an emphatic statement that the 3DS is alive and well, and won’t be going away anytime soon.
  • The non-RPG 3DS titles were less interesting to me:
    • I’m not terribly excited by Hey! Pikmin, especially given the other 2D platformers already on the 3DS (Kirby: Triple DeluxeKirby: Planet Robobot, and Poochy and Yoshi’s Woolly World), but the Pikmin at least allow for some interesting mechanics.
    • Speaking of Kirby…while his 25th anniversary looks to be more promising than Sonic’s, the games they discussed were mostly expanded versions of minigames, and thus the reveals were a bit underwhelming. We’ll see what the third game they mentioned turns out to be, but it doesn’t sound all that intriguing just yet.
  • Getting Minecraft on the Switch is a huge deal for Nintendo. This is a hugely-popular game, and it old-school graphical style means that unlike Overwatch, the Switch’s technical specs are not an issue. Having Minecraft is not sufficient to make the Switch successful, but it’s definitely necessary.
  • I’m not as bullish on the rest of the Switch’s third-party announcements. The Sonic games and Disgaea 5 look interesting, but otherwise it’s a bunch of older games that I wasn’t interested in playing when they originally came out (much less now), and smaller games that don’t appear to have a lot of replay value. It looks like Nintendo will be fighting the image of “the system with no good third-party games” for a while longer. Still, the fact that there were so many games discussed certainly counters the notion that the Switch library is too thin to warrant buying one.
  • Fans of fighting games will find a lot to like about ARMS. Nintendo showed off some interesting new content (I fully support a character based on ramen noodles), and discussed how character and weapon choices introduce a lot of strategy into the game. While I’m personally not interested in the title, I think people who enjoy these sorts of games will find ARMS to be a worthy title.
  • Of all the things I mentioned that Splatoon 2  could learn from Overwatch, a horde mode was not one I had thought of…but It. Looks. Awesome. I love the idea of being able to resuscitate splatted teammates, the enemy designs look unique and challenging, and I think teaming up with your friends to gather golden eggs would be a really fun time. My hope is that a) the special gear you wear is also available to use in Turf Wars and Ranked Battles, and b) you’re not locked to specific weapon choices in Salmon Run (if I’m fighting an endless horde of enemies, I want my .96 Gal, darn it!).

Overall, I think the Direct was a net positive for Nintendo and will help keep momentum for both the Switch and the 3DS going for the foreseeable future. The company probably still has an ace or two in the hole for E3, but this was enough to get people’s attention.

Now, if people could only find a Switch to buy…