Game Design Companion: A Critical Analysis of Wario Land 4

Getting Started

Game Elements

Mechanics

Mechanics are like words. Although they contain meaning, they can’t communicate on their own; they must be placed within the context of a sentence to make sense. In Wario Land 4, Wario’s abilities (mechanics) only communicate (create interplay) when placed in the context of a level (alongside other game elements). For now though, we’ll just look at the mechanics in isolation. What do they do? How are they different from each other? How are they balanced with strengths and weaknesses? Later, in the Level Analysis, we’ll understand them in the context of a sentence.

 

There are twenty-three mechanics: fifteen core mechanics, six combination mechanics, and two extension mechanics. Core mechanics are completely independent. Combination mechanics contain two interdependent functions. For example, ATTACK JUMP consists of horizontal movement (ATTACK) and vertical movement (JUMP). Without the former, Wario can only jump on the spot. Without the latter, Wario can’t clear chasms. Extension mechanics build off their base mechanic, often adding an extra layer of engagement. For example, CHARGE THROW extends THROW, adding a timing element.

Mechanics and Functions

The mechanics can be divided into three groups: jump, traversal, and attack. The diagram below organises them under these headings.

 

 

Several more mechanics could technically fall under multiple categories. For example, WALK and JUMP can knock an enemy into water, defeating it. This makes them attack mechanics. I don’t, however, acknowledge them as such. The mechanics labelled under multiple categories meet their respective functions. That is to say they have power (more on this later). So, DASH ATTACK’S fast speed makes it great for traversal, but, as the only mechanic which can break thick blocks from the side, it’s also an important attack mechanic. WALK and JUMP, on the other hand, can’t break blocks, and depend on an external element, like water, to attack enemies. They’re far too impractical to be classified as attack mechanics.

DASH ATTACK is a multifunctional mechanic. It is useful for both attacking and traversal. If the multifunctional mechanics were instead broken into several mechanics, one for each function—that is, if you count all the mechanics in the second list, including duplicates—the twenty-three mechanics would increase to thirty. Allowing a handful of mechanics to achieve more than one function reduces the overall number of abilities the player has to learn and master. This minimises complexity and streamlines the learning process.

CROUCH and LOOK UP don’t belong to any of the three main categories. LOOK UP has Wario enter doors when he stands in front of one, and tilts his head upwards when he’s not. CROUCH is a transitionary mechanic for CROUCH WALKING and CROUCH SLIDING.

Wario begins with all of these mechanics from the get-go. There’s no upgrades and no way to lose abilities.

States

 

Wario’s ability to execute a mechanic depends on his current state. These states include:

Neutral – Wario stands on the ground, put there by gravity. In this state, he can use most mechanics aside from the ones which require an external element (the swimming mechanics, SMASH ATTACK, and HEIGHTENED SMASH ATTACK).

Idle (on land or at the water’s surface) – Wario has four animations that he slips into when left alone for a short while. Pre-fold, he lifts dumbbells or skips with a skipping rope. Post-fold, under the timer, he nervously hops between legs. In water, he flails his arms around in panic. Pressing A, B, or the d-pad exits the state.

Knocked – When Wario collides with an enemy’s weak point, he’s knocked back. During this time, he’s unable to execute mechanics. He also drops anything he’s holding.

Bounce Back – After attacking a regular block, thick block, or wall, Wario bounces back and control is taken away from the player. This includes the animation following a (HEIGHTENED) SMASH ATTACK of Wario holding his position with his hat bobbing up and down.

Recoil – After attacked or touching something hazardous, Wario launches back in pain and flashes brightly. In these frames, he’s invincible and control is momentarily taken away from the player. After recoiling, Wario enters the flashing recovery state.

Flashing Recovery – After recoiling, or exiting a transformation, Wario is semi-transparent and flashes to indicate that he’s still invincible. The player can freely control Wario at this time.

In Water – Wario can perform the swimming mechanics.

Transformation – Wario is transformed. There are ten unique transformations, each with their own properties and mechanics. I cover them in detail in the subsequent section.

Falling – Wario can SMASH ATTACK and HEIGHTENED SMASH ATTACK in this state.

In Mechanic – Wario is in the middle of a mechanic’s animation. The player can cancel WALK, ATTACK, SMASH ATTACK, DASH ATTACK, ATTACK JUMP, and the three swim mechanics, albeit some of them only at particular frames.

Attacking State – Wario can hurt enemies and break blocks. Not every frame of the attack mechanics put Wario in the attacking state. During DASH ATTACK’S warm up, for instance, Wario is in mechanic.

Crouched–In use of CROUCH. Wario squats to a unit-high (half his height), walks at a slower speed, and can only jump to half the height of a full JUMP. He remains in this state when wedged in a unit-high passage, or if a square block lands on him (Toy Block Tower). He springs back to the neutral state after exiting a unit-high passage, moving out from under a square block, or once the player releases the down arm on the d-pad. Crouched, Wario can only CROUCH WALK and CROUCH JUMP. He must be in the neutral state to perform a CROUCH SLIDE.

Holding an Object–After Wario PICKS UP a projectile, he can only drop, THROW, or CHARGE THROW it. Otherwise he can WALK around and JUMP. Some heavy objects weigh him down, shortening his jumps and slowing his movement.

Rolling – Wario ROLLS horizontally until he hits a wall. In this state, he’s 1 unit-tall, impervious to damage, and can ROLL JUMP.

Climbing – When CLIMBING a ladder, vines, or mesh, Wario maintains his horizontal and vertical positions. He can only fall off, SLIDE down, or move along the structure.

These details may seem like a lot to take in, especially when laid out in full, with text and lists. For the player though, everything is interactive and presented in context, so they learn fast.

The analysis of each individual mechanic is organised by the three categories (traversal, attack, and jump). This means that mechanics with several functions, like ATTACK, will be covered multiple times. Each time though, the analysis is pertinent to the respective function.

Traversal Mechanics

The traversal mechanics allow Wario to move through the level. Of the three categories, traversal is the most varied, including horizontal movement, vertical movement, swimming, and climbing. Wario can cross unit gaps in the ground with all horizontal movement mechanics bar CROUCH WALK and CROUCH SLIDE.

Walk

Wario’s WALK maintains a constant speed. He cannot build walking momentum and transition into a run. Walk obeys the rules of form fits function. That is, because Wario looks overweight, he acts overweight and can’t naturally accelerate.

I made rough calculations of the time it takes Wario to cross a 480 pixel room (Room 4 of Hall of Hieroglyphs) with each of the horizontal movement mechanics. The results are as follows:

 

Ruling out CROUCH WALK, which is primarily used for passing through unit-high passages, WALK is the slowest form of horizontal movement. Slower movement means that objects enter the screen’s view slower, making WALK the mechanic of choice for less-experienced players and useful in times of necessary care. Furthermore, unlike ATTACK, DASH ATTACK, or ROLL, there’s no bounce back after hitting a wall, which can leave Wario open to attacks or see him to land on a hazard. WALK is therefore a low risk, low reward mechanic.

Crouch

Although it’s not a traversal mechanic, I include CROUCH here as it’s needed to transition into two of the traversal mechanics, CROUCH WALK and CROUCH JUMP. There are two ways to CROUCH: hold the down arm of the d-pad or have Wario WALK towards a unit-high passage running along the ground. In the latter case, he’ll automatically CROUCH and enter. The automation streamlines input, reducing unnecessary manual process. Once Wario’s wedged inside a unit-high passage, the player doesn’t need to hold down on the d-pad any more. Aside from transitioning into other mechanics, CROUCH is also a means of dodging oncoming obstacles.

Crouch Walk

When crouched, Wario can walk in the direction he’s facing. As mentioned, CROUCH WALK is the slowest form of horizontal movement, but it’s also the only way to manually move at 1 unit-high, which is necessary in certain situations. Speed is sacrificed for form.

Crouch Slide

The CROUCH SLIDE, CROUCHING during an ATTACK, is Wario’s equivalent of Mario’s running slide. The extraneous mechanic is a stylish way of entering the crouched state. More experienced players may use it to riskily slide underneath a jumping enemy.

Roll

ROLLS are initiated by pressing the down arm of the d-pad when Wario’s on a slope. Once Wario comes off the slope and hits the ground, he enters the rolling state, bouncing back to the neutral state after hitting a wall. As Wario slides down the slope, the player can JUMP to cancel the ROLL.

When ROLLING, Wario is in both the rolling and attacking states, which makes the mechanic a fast-moving, invincible, attacking CROUCH WALK. These advantages are offset by a lack of control—Wario can only jump when ROLLING—and potential use dictated by the location of slopes. Using ROLL to traverse terrain is thereby a high risk, high reward proposition.

Climbing

When Wario stands above or in front of a ladder, vines, or meshing, he can CLIMB them. Wario can move in four directions along meshing and two on the unit-wide vines and ladders. JUMPING exits the climbing state.

Sliding (Down)

Pressing the down arm of the d-pad and B sees Wario SLIDE to the bottom of a ladder, vine, or meshing. Wario can only SLIDE after CLIMBING onto one of the three level elements, so the two mechanics are interlinked. The player can cancel a SLIDE by CLIMBING mid-SLIDE. SLIDING allows more experienced players to speed up the game and scale the difficulty.

Slow Swim

Wario can gently kick his feet to SLOW SWIM with a push of the d-pad. He can swim horizontally, vertically, and diagonally. SLOW SWIM lacks the speed of the other two swimming mechanics, as well as the joltiness, which makes it better suited to accurate, careful swimming.

Forward Stroke

Pressing B has Wario push through water with his hands. The longer the button is held, the fuller the stroke and further the distance travelled. The player can choose between making one long stroke or several short strokes. The d-pad directs Wario’s swimming path; holding up or down effectively turns the horizontal movement mechanic into an UPWARD STROKE, as Wario swims vertically. The animation of the two mechanics is identical. In regards to traversal, the only difference between them is that Wario can’t jump out of the water with a FORWARD STROKE.

Upward Stroke

Pressing A sees Wario UPWARD STROKE. Unlike the FORWARD STROKE, holding left or right on the d-pad doesn’t skew Wario’s direction. When at the water’s surface, executing an UPWARD STROKE has Wario jump out the water. This doesn’t work if the player holds the down arm of the d-pad and UPWARD STROKES.

The inputs of the FORWARD and UPWARD STROKES are modelled after ATTACK and JUMP. Wario ATTACKS with B, which displaces him horizontally, as does the FORWARD STROKE. Wario JUMPS with A, which displaces him vertically, as does the UPWARD STROKE. The similarity makes it easy for the player to transition between swimming and platforming sections.

Attack

ATTACK is primarily designed to clear obstacles and beat down foes, but it’s also a convenient way to travel. For a single button press, Wario moves at the fastest speed for roughly a second. Although that doesn’t sound like much, string several ATTACKS together and Wario can zip through an area with ease. Pressing in the opposite direction on the d-pad to which Wario is facing ends the animation abruptly. With short animation cycles and prompt cancelling, ATTACK is a supremely portable traversal mechanic. The main downside is that the return to the neutral state between animations can drag continuous movement.

Dash Attack

DASH ATTACK debuts in Wario Land 4 as a significant addition to Wario’s repertoire. Think of it as a beefed up ATTACK with maxed out risk/reward.

Pressing and holding either of the shoulder buttons (acceleration pedals) and either the left or right side of the d-pad (ignition) gets Wario running. The run builds up visible charge to indicate that Wario has entered the attacking state. His speed remains the same. DASH ATTACK’S sprint can be maintained as long as the player holds down the appropriate buttons and avoids all obstacles. Given Wario’s fast speed, this is considerably difficult. When the player releases the shoulder button (acceleration), Wario reverts to a WALK (loses speed). When they release the d-pad (turning off the ignition), Wario (the car) skids out of control. The player can nullify the skid and cancel the animation through advanced techniques.

Maintaining the DASH ATTACK over a clear path is much easier than keeping a string of ATTACKS going, however, the skid and required run-up balance out these advantages.

Smash Attack and Heightened Smash Attack

Widely known by fans as the ground pound or butt stomp, the instruction booklet calls this mechanic SMASH ATTACK, so I’m going to go with that term. When Wario’s in mid-air, pressing the down arm of the d-pad has him SMASH ATTACK. The SMASH ATTACK mechanics speed up descent, but limit Wario’s ability to move left and right. In regards to traversal, SMASH ATTACK and HEIGHTENED SMASH ATTACK are identical.

Attack Mechanics

The attack mechanics allow Wario to clear enemies, break blocks, shift terrain, and do context-specific actions. These interactions lead to coins, which feed the greed aspect of Wario’s antihero persona. Mechanics which stun or knock enemies don’t count as attack mechanics.

Attack

As with every iteration of the Wario Land series, Wario’s primary attack is a shoulder ram move. ATTACK is relative to the position he’s facing. Each time Wario ATTACKS a wall or regular block, he bounces back. On ATTACKING an enemy’s weak point though, he returns to the neutral state, cutting the mechanic’s animation dead.

 

The sparks around Wario as he ATTACKS over-exaggerates his hit box, which doesn’t extend to the upper and lower flares. The animation is also a little janky and disorientating. What makes the mechanic attractive though is its portability and immediacy of bringing Wario into the attacking state. ATTACK’S low risk, low reward makes it the most reliable attack mechanic.

Dash Attack

DASH ATTACK has two advantages: it can clear thick blocks and plough through enemies and regular blocks without pause or bounce back. The mechanic turns Wario into a wrecking ball with legs, constantly fixed in the attacking state, without any lapses in animation. Thus it’s ideal for removing long sets of horizontally-aligned enemies and blocks.

Four weaknesses balance out the advantages.

It takes a moment for Wario to charge the mechanic and enter the attacking state. This leaves him running forward, open to being knocked.

1. The skid on ending the mechanic can be difficult to factor into play.
2. DASH ATTACK’S consistent fast speed makes objects come into view quicker and thus more stress is placed on the player’s reaction skills.
3. Without significant horizontal leeway to build a run-up, the player can’t charge up the mechanic. This makes DASH ATTACK dependent on available space.

The strengths come at a cost, making DASH ATTACK a high committal mechanic with strong risk and reward.

Smash Attack and Heightened Smash Attack

SMASH ATTACK is a vertical take on ATTACK, with DASH ATTACK functionality built in. SMASH ATTACKING the ground causes a quake, flipping enemies and knocking loose objects about. SMASH ATTACKING an enemy’s weak point or a regular block destroys it. The player can cancel the animation shortly after it begins, however, after a set window of time, Wario’s locked into the mechanic until he hits the ground. After SMASH ATTACKING some distance, the mechanic builds charge and becomes a HEIGHTENED SMASH ATTACK. The extra force allows Wario to break thick blocks and smash attack through water.

There are two forms of quakes: level 1 quakes (SMASH ATTACK) and level 2 quakes (HEIGHTENED SMASH ATTACK). Level 1 quakes cause enemies to jump and loose level elements (eg. rocks) to bounce around. Level 2 quakes cause enemies to become paralysed and bounce around with the loose level elements.

The quakes occur during the vertical bounce back, when Wario’s hat is bouncing up and down, allowing the player to see the result of their actions. This is also true of Fat Wario who instead remains stationary during the quake.

Pick Up, Throw and Charge Throw

THROWING is a stalwart mechanic of the Wario Land series. When Wario WALKS into a projectile lying on the ground, he automatically PICKS it UP. CROUCHING drops the held object. THROWING, B and the d-pad, can be an attack, a means of transporting an object, or a way to clear a path through a channel of unit-high blocks. Holding B for a short time charges the THROW. A CHARGE THROW sends the projectiles further than a regular THROW, and is more engaging as it involves a timing element.

 

 

Holding an object allows Wario to safely deliver it from one area to another. Since Wario holds projectiles above his head, they add to his height, something which the player must consider when moving him. If Wario is knocked, he’ll drop what he’s holding. If the object is knocked, it’ll fall out of his hands.

Heavy projectiles can’t be thrown as far as regular projectiles.

Roll

ROLL is tied to slopes, which restricts its role as an attack mechanic, but gives me the freedom to make subtle puns.

Forward Stroke

FORWARD STROKE is the only swim mechanic which can attack horizontally, however, because it can’t break blocks, it can only be used to attack Goggley-Blades when they swim vertically. A feature made useless by the fact that the fish predominately moves horizontally, thanks to the layout of underwater areas.

Upward Stroke

UPWARD STROKE attacks vertically and breaks blocks. The mechanic persuades the player to get Wario underneath enemies and blocks to attack them. Perhaps the reason for not being able to break blocks with the FORWARD STROKE is to encourage the player to use the UPWARD STROKE and engage with the buoyancy dynamic (Wario’s float).

Because:

• FORWARD STROKE can clear enemies, but not blocks.
• UPWARD STROKE can clear both.
• FORWARD STROKE can effectively become an UPWARD STROKE (without the ability to jump out the water), but an UPWARD STROKE can’t become a FORWARD STROKE.

The two mechanics imperfectly blur into one another. At least for me personally, this has always made the swimming mechanics feel a bit nebulous.

Jump Mechanics

Jumps are the mechanics for interacting with the essence of the side-scrolling platformer, gravity. Unlike the traversal and attack mechanics, the jump mechanics are all variants of the same core function. For this reason, I introduce them with a bit more detail.

Jump

 

 

JUMP has steeper ascent and descent than the other jumps, which makes it ideal for clearing tall obstacles with limited reaction time, like the boulders in Fiery Cavern. The longer the player holds the A button, the higher Wario’s jump. JUMPS in which Wario reaches maximum height are called full JUMPS. By pressing left or right on the d-pad, the player can direct the trajectory of the jump and fall. There’s no bounce back when hitting walls. JUMP offers quick ascent, control of Wario in mid-air, and can be scaled to various heights. These advantages make it the safest, most reliable jump mechanic.

Stomp Jump

 

 

Enemies and projectiles can be used as a springboard to perform a STOMP JUMP. The bounce lifts Wario half a unit higher than a full JUMP, but execution depends on the availability of an enemy or projectile. This can lead to some interesting cases of suspension, where the enemy/projectile needs to be moved to an out-of-the-way location and STOMP JUMPED on to reach a secret area. I pair STOMP JUMP together with JUMP.

Crouch Jump

 

 

CROUCH JUMPING allows Wario to jump into raised, unit-high passages at the expense of height. The form dictates the function.

Crouch Stomp Jump

 

 

Unit-high passages are never so high off the ground to warrant use of this mechanic. I pair CROUCH STOMP JUMP together with CROUCH JUMP.

Attack Jump

 

 

An ATTACK JUMP is initiated by JUMPING during an ATTACK. It has slightly better horizontal range than JUMP and all the properties of an ATTACK (animation cancels, nippy response time, and immediate entry into the attacking state). The ATTACK determines the jump’s fixed trajectory.

Being able to end an ATTACK JUMP in mid-air changes the process of jumping from guiding Wario with the d-pad to waiting until he’s vertically aligned with a platform and then cancelling the jump so that he falls directly onto it. For precision jumps, this new approach is ideal.

Dash Attack Jump

 

 

As with DASH ATTACK, DASH ATTACK JUMP has high risk/reward. Wario can make larger jumps (with a lower arc), but can’t cancel the animation or change the jump’s trajectory mid-jump. DASH ATTACK JUMP also requires a run-up, which limits its potential use.

Roll Jump

 

 

When ROLLING, Wario can ROLL JUMP. As he’s only a unit-high and moving at a fast speed, the jump’s trajectory is low and wide. ROLL JUMP’S limited height shortens the window of time Wario has to jump to another platform. This exertion of reflex, along with the fast speed of the rolling state, makes ROLLING a tense affair.

Transformations and Navigation

 

“All of my reactions [transformations] are very important to this game, but to me, they’re a real pain!! SO, if you are a true Wario fan, you will try to finish this game without letting ANY of this happen to me!! RIGHT?! Come on! Please, I’m counting on you!”

- Wario, page 36 of the Wario Land 4 instruction booklet

 

Transformations, like any core part of a well-designed game, serve multiple functions. They work with the level elements to create isolated puzzle and navigational challenges, which add variety and narrative weight to a level. They punish the player when inconvenient and allow them to experience Wario’s self-deprecating nature firsthand through interaction. More than any other part of the Need to Know chapter, this section contains analysis as opposed to just important insights. Without analysis, we can’t understand the fundamental workings and engagement of these unique states. With this in mind, let’s begin.

A History of Transformations

Super Mario Land 3: Wario Land features hats, power-ups found in blocks, which grant special abilities. In Wario Land 2, hats were replaced with transformations, which became the basis for the series’s shift to puzzle platforming. Although hats and transformations achieve the same outcome, alter Wario’s state and add new abilities, hats are presented as power-ups that Wario takes advantage of, whereas transformations are presented as status effects that enemies inflict upon him. Nintendo’s R&D1 studio used this difference to display Wario in a less than flattering light and subsequently inject more humour into the series. Wario Land 3 added new transformations and tweaked the pre-existing set. Wario Land 4 cut the list to ten and reworked them so that they would be better suited to the navigational challenges then made possible with the Game Boy Advance’s increased screen resolution, accommodating the game’s action platforming bent.

The Difference Between Transformations and Mechanics

Mechanics are functions that the player can use in the game. Because Wario is the player’s avatar, the mechanics can be thought of as Wario’s abilities. Although there are a handful of mechanics unrelated to Wario, such as pausing the game. Transformations are temporary states, like recoiling or being underwater, which modify Wario’s properties and mechanics. They are dependent on external requirements.

For example, Wario becomes Flaming Wario when set alight by the lamp-like Kaentsubo (the requirement). Once Flaming Wario makes contact with a wall three times (the limitation), he’ll combust, burn out into soot and shake himself back to normal. Flaming Wario can run (modification of WALK) and, once he combusts, break fire blocks (modification of Wario’s properties) for a short time (the limitation).

Considerations

Levels are made up of arrangements of game elements which elicit interaction and create narrative. For example, a platform with an enemy on top. Arrangements are dependent on mechanics and game elements. There’s no point having a level full of platforms if the avatar can’t jump onto them, and you can’t add platforms to a level if there are, ahem, no platforms in the game. Wario Land 4 has a strict set of appropriate game elements. Therefore, the only way to increase the possibility space of gameplay and story is to add mechanics—or alter the avatar’s properties, which is similar to adding mechanics. The transformations do both. Their role is to broaden the game’s breadth and provide variation.

There are ten transformations, although this doesn’t mean that the possibility space is expanded tenfold. Transformations are simplified versions of Wario, reduced to a single function/concept. They disable most of his mechanics, modify what’s left, and sometimes add their own. This way, each transformation is specialised and unique from regular Wario, increasing the potential for gameplay without adding needless complexity. Their form fits their function as well, which reduces the effort involved in understanding and remembering the transformations, their properties and abilities.

Wario’s mechanics are de-optimised so as to make him engaging to play as. For example, he can only ATTACK JUMP at a fixed arc which makes removing enemies higher than himself engaging as the player must work around the controlled trajectory. The de-optimisation makes applying the mechanics similar to a puzzle. This is also true of the transformations, however, the rebalancing tends to be more extreme so as to make each transformation further distinctive and accentuate certain wrinkles of engagement. For example, Bouncy Wario can spring jump vertically until he hits a ceiling (optimal vertical movement), but slowly hops left and right (de-optimised horizontal movement) and reverts to regular Wario after a short time (de-optimised state). The limited time to move Bouncy Wario to where he’ll spring jump from and the clunkiness of his horizontal movement makes controlling him engaging.

Interaction gives meaning to game elements. Since it is the avatar who interacts with the game elements, it is the avatar that defines them. When the avatar changes, so does the game world. For example, platforms maintain a point of verticality. Zombie Wario, however, falls through them, therefore changing the role of platforms. When the player can control the avatar’s state, as is the case with the transformations, they can constantly redefine the game elements and must therefore adapt to the fluidly changing state of game world. If transformations give the player new lenses to see the game world, then switching between them requires continuous recalibration of perspectives.

Much of the humour of the Wario Land games comes from the transformations. Video games tell stories through functions set in context, and Wario’s transformations provide the context (the visual form, sound, game feel, and animations) and functions (interactions) which allow the player to experience the series’s signature self-deprecating humour firsthand.

Contextually speaking, despite Wario’s objection to transformations, his loss of face is inevitable given that the player wishes to complete the game.

Transformation devices, the game elements that allow Wario to transform, are sometimes placed away from transformation-specific arrangements so as to unnecessarily change Wario’s form and slow the player’s progress. In these examples, the transformation devices become obstacles as opposed to entry points to interaction.

Seven of the ten transformations are initiated by enemies. Flat, Snowman, and Bubble Wario are prompted by level elements like crushers, drops of snow, and cracks of air underwater.

When the player sees the transformation devices, they consider the respective transformation and look for the game elements that Wario can interact with once transformed. The transformation devices prompt the player to find the transformation’s interaction elements and strategise ahead. For example, when the player sees a Ringosuki, they think of Fat Wario and then look for the nearest thick block. Ringosukis become the visual prompter for thick blocks.

Wario Land 4’s arrangements use a lock-and-key design where the player needs to move the key to the lock. With the transformations, Wario often becomes the key. For example, a thick block in the ground is a lock and Fat Wario, who can remove the block and open access to the subsequent area, is the key.

Of the ten transformations, four of them can alter the environment. Flaming Wario can destroy flame blocks, Snowman Wario can clear snow blocks, Fat Wario can crush thick and regular blocks, while Bouncy Wario can remove regular blocks.

There are three types of restrictions imposed on the transformations: cures, contacts, and timers. Zombie, Vampire Bat, and Flat Wario are limited by cures, game elements that revert Wario back to his neutral state. For Zombie and Vampire Bat Wario, water and light are cures. For Flat Wario, water and decompressors are cures. Flaming Wario is limited by cures (water) and time (after bursting into flames). Puffy, Bubble, and Snowman Wario continuously move horizontally or vertically until they touch a wall or ceiling and break out of the transformation. They are examples of contact reversions. Frozen Wario’s state is determined by contact and cures (water). Bouncy Wario is governed by a timer and, once in a spring jump, by contact with a ceiling. Fat Wario is an anomaly as he only reverts to the neutral state after walking a set number of units. This can be thought of as a player-controlled timer.

If a transformed Wario touches an enemy, he’ll either push them aside or destroy them on impact. As a design rule, enemies are absent or out of the way in transformation-specific arrangements, as they only create clutter.

Overview

Now that we understand the transformations a little better, we can analyse them individually to discover how they modify Wario’s properties and mechanics to create engaging new ways to navigate space. For each transformation, all existing mechanics are disabled unless stated otherwise. The four key points under each heading cover the introduction, while I discuss the engagement and any other quirks in long-form.

Fat Wario

Modification: WALK is slower, JUMP is shorter and of a fixed height, Wario is larger, falls faster and quakes the ground when landing (level 2)

Transformation Elements: Ringosuki

Interaction Elements: Switches, thick and regular blocks, breakable terrain, water

Restriction: Walking distance

 

When Wario touches a Ringosuki’s apple, he enters his obese form, Fat Wario. Because Fat Wario’s walking distance is limited and Ringosukis are usually some way from the lock, the player is often tasked with deducing the shortest path from the Ringosuki to the lock. To do so, they must interpret the game world as constructed of units, commodify Wario’s steps, and estimate his potential walking distance before deciding on a route. The player must also factor in Fat Wario’s unit-high jump and ignore other game elements vying to lead them off track.

The lack of visual leeway below Wario makes dodging objects during a fall quite reflex-intensive. Fat Wario’s weight causes him to fall faster, further stressing reaction skills.

Fat Wario destroys enemies on impact which is both a strength and a weakness. A strength, because he can easily reel in spoils from large, concentrated groups of enemies. A weakness, because he can easily remove enemies needed to advance through the level. Fat Wario’s role is malleable to the game elements surrounding him.

Unlike the two smash attack mechanics, Fat Wario’s (level 2) quake doesn’t see enemies and loose level elements bounce in the direction he’s facing. Rather, they randomly bounce back and forth.

The Ringosukis throw their apples into the air. If Wario touches the fruit in mid-air, he’ll fall while eating it, land, and then transform. Yet, if he enters water as he falls, he’ll transform immediately, hitting the ground with a quake. This added nuance to the transformation process extends the potential range of Fat Wario-specific arrangements.

Puffy Wario

 

Modification: Wario constantly ascends, his head inflates to twice its original size, a push float mechanic is added

Transformation Elements: Beezley, Bow Balloon

Interaction Elements: None

Restriction: Contact with ceiling or spikes

 

Puffy Wario floats upwards, like a balloon, until he hits a solid object and exits the transformation. The pace of his ascent gives the player sufficient time to weave around the spikes, solid platforms, and low ceilings. Because Puffy Wario rises at a fixed speed and the obstructions remain stationary, the time at which the two objects meet is fixed. The player therefore has a set time limit to steer Wario around the obstacles. It’s this restriction that creates engagement.

Moving Puffy Wario horizontally sees the air balloon continue to drift in its given direction. If left unattended, Wario can easily oversteer his way into trouble, so the player must micromanage the drift. This is the second form of engagement.

Puffy Wario’s inflated head is 2 units-wide. More concentration is therefore needed to safely guide him through narrow spaces. This is the third form of engagement.

After Puffy Wario deflates, he falls to the ground. If the player’s not careful though, Wario may land on a hazard. So, as they’re controlling Puffy Wario, the player must constantly scan the environment for a convenient landing point and where to touch the ceiling so as to subsequently reach that point. That is, the player must think in one frame of mind while acting in another. A fourth form of engagement.

Puffy Wario’s push float mechanic (press B to nudge him upwards) allows the player to scale the difficulty. By accelerating Puffy Wario’s float, obstacles come into view quicker and greater reflex skills are needed to avoid them. Since the boost is short and portable, and the player can hold the button longer for the full animation, the player has a high level of control over the degree at which they scale the task. The push float mechanic also allows the player to remove the negative space when Puffy Wario’s floating and they have nothing to do, but wait for him to reach his destination.

Vampire Bat Wario

 

Modification: Wario is smaller, grows wings, and can flap them to stay afloat

Transformation Elements: Minicula

Interaction Elements: Ground

Restriction: Light or water cures

 

As a bat, Wario’s body shrinks and sprouts wings. The wings give the player a new means to engage with gravity, press the A button to keep Vampire Bat Wario afloat. The longer the button is held, the stronger the flap and higher the ascent. Shorter flaps allow for more precise control of Wario’s vertical position, but require faster button presses, while longer flaps offer quicker ascent in exchange for harder button presses. Feeling out this relationship between input and output and determining when to flap and to what degree makes controlling Vampire Bat Wario, you guessed it, engaging.

Holding left or right on the d-pad moves Vampire Bat Wario in the respective direction. Navigating Wario therefore requires that the player do two different actions at once: slide their finger around the d-pad and rapidly press the A button. Engagement is created through ambidexterity.

Of all the transformations, Vampire Bat Wario gives the player the most control over both axes. As a result, the camera is its most mobile when the transformation’s active.

The flapping input is quite strenuous which fits with Vampire Bat Wario’s visual form suggesting that his large head weighs him down.

When Vampire Bat Wario touches the ground, he can no longer move horizontally and helplessly flails on the spot.

The transformation also has the player consider light sources and their effect on the formation of various flying routes.

Flat Wario

 

Modification: Wario takes the shape of a pancake, his WALK is slower, JUMP is short and of a fixed height, falling sends him swinging horizontally

Transformation Elements: Crushers

Interaction Elements: None

Restriction: Water or decompressor cures

 

The Flat Wario transformation sees the antihero squashed into a pancake, half a unit tall and 2 units wide. Thanks to his elongated form, he can waddle across unit gaps.

Flat Wario’s fall sees him sway sharply in broad sweeps, mimicking a leaf’s descent to the ground. The player can control whether he sways to the left or right through the d-pad. Each swing drops Wario a fixed number of pixels, which makes them measurable units. The core engagement comes from determining how many swings, and in which direction(s), are needed to send Flat Wario to his destination. His jump adds an extra wrinkle to this process as the increased height is helpful for clearing long distances, but can also lead him to overshoot a platform.

After jumping once, Flat Wario floats to the left. After jump a second time, Flat Wario floats to the right. That is, given the player doesn’t press on the d-pad.

Bouncy Wario

 

Modification: Wario bounces on the spot which makes horizontal movement slow (bouncing state), can spring jump upwards through regular blocks until he hits a ceiling (spring jumping state)

Transformation Elements: Menhammer

Interaction Elements: Regular blocks

Restriction: Timer when bouncing and contact with ceiling when spring jumping

 

Bouncy Wario sacrifices ease of horizontal movement for ease of vertical ascent. The transformation has two states: bouncing and spring jumping. Because the position Wario should spring jump from to reach his destination (the spring point) is usually some distance from where he transforms, the player must first move Bouncy Wario to the spring point and then jump. Since the initial bouncing state is governed by a timer and horizontal movement is slow, due to Bouncy Wario’s continuous hopping, the player needs to think fast and react early if they want to get Wario into position before he exits the transformation. The prompt reaction that the transformation elicits from the player is its core engagement.

The fast ascent of Wario’s spring jump makes it hard to displace him horizontally mid-jump (i.e. the speed gives the player little time to cover much distance). The player has minimal leeway to adjust Wario’s trajectory once he’s set in motion, and thus the onus is on them knowing where to spring jump from before they spring jump. The bouncing state’s timer also encourages the player to know beforehand as once Wario transforms, they don’t have long to make up their mind. These properties enforce and accentuate the transformation’s most engaging feature.

Similar to moving Wario to the spring point in the bouncing state, shifting him horizontally when spring jumping is also engaging because of the limited time.

Because the spring jump keeps going until Bouncy Wario hits a ceiling, the destination is usually far from the spring point, eliciting prior investigation.

As Bouncy Wario, in his bouncing state, approaches the end of his timer, he flashes. If he then spring jumps, Wario will continue to flash until he exits the transformation.

Zombie Wario

 

Modification: WALK is slow, JUMP is short and of a fixed height, Wario can fall through through platforms

Transformation Elements: Skeleton Bird

Interaction Elements: Through platforms

Restriction: Contact with light or water

 

Similar to Fat Wario, Zombie Wario offers new ways to navigate the game world without significantly modifying Wario’s command of the vertical axis. By changing his relationship to platforms, water, and light, elements common in many arrangements, deducing the path from Wario’s transformation point to his destination becomes a puzzle.

Zombie Wario’s slow movement, which can consume a lot of time, persuades the player to get enough information on their surroundings before they transform. This is not unlike what I just talked about regarding Bouncy Wario.

Wario can transform into Zombie Wario in mid-air, unlike Fat Wario who only transforms once he touches the ground or water. This property plays to Zombie Wario’s ability to fall through through platforms and persuades the player to be wary of Skeleton Birds as Wario jumps.

Snowman Wario

 

Modification: WALK is slow, JUMP is shorter and of a fixed height, Wario quakes the ground when landing (level 2), ROLLING down slopes sees Wario roll up into a snowball where he can break snow blocks

Transformation Elements: Clumps of snow

Interaction Elements: Slopes, snow blocks

Restriction: Contact with a wall after rolling down a slope

 

Snowman Wario has two states. At first, Wario’s a snowman with legs who can only walk and jump. After standing on a slope, however, he slips and begins to snowball, increasing in size and clearing any snow blocks in his path.

In the snowman state, Snowman Wario is Fat Wario with unlimited walk. With no restriction on movement, the emphasis is shifted to Wario’s unit-high jump. Plotting the route from transformation to slope requires the player consider the height of the environment. This is another take on Fat and Zombie Wario’s core engagements.

In the snowball state, the player has no control over Wario. Foreseeing where the slope will lead him, before rolling, is the second form of engagement.

When the arrangements call for it, mentally connecting the path from the transformation point to the slope and then the slope to the snow blocks increases the necessary knowledge skills (observation and short term memory).

Without snow blocks, there’d be no use for Snowman Wario.

Snow blocks and the Snowman Wario transformation build on the process of ROLLING through a line of unit blocks by front-loading it with three additional steps: look for the clumps of snow, transform, and move Snowman Wario to the slope. By separating the game elements needed to complete each step, the game designers can flesh out the rolling arrangements. For example, if the slopes and clumps of snow are at opposite ends of a room, the player needs to navigate Snowman Wario from one end to the other, before they can roll.

Bubble Wario

 

Modification: Wario constantly rises and has limited horizontal movement

Transformation Elements: Cracks of air that form bubbles

Interaction Elements: None

Restriction: Contact with a ceiling or the water’s surface

 

If Wario gets caught in a bubble underwater, he becomes Bubble Wario. Left untouched, Bubble Wario sways left to right until he hits a ceiling or the water’s surface. The player can use the d-pad to steer the sways. The transformation only acts to get Wario past currents or catch the player off guard and punish them. There’s minimal engagement.

Flaming Wario

 

Modification: WALK becomes a nonstop run, JUMP is longer, Wario can break fire blocks

Transformation Elements: Kaentsubos, Pig head statues, chandeliers

Interaction Elements: Fire blocks

Restriction: In his first state, contact with a wall three times; in his second state, time

 

Flaming Wario has two states. Initially, he just runs around with his pants on fire. Each time he touches a wall, the flames grow larger and change from blue to green to orange. After three wall touches, Wario combusts into a ball of flames where he can break fire blocks before returning to his neutral form.

As with most other transformations, Flaming Wario’s transformation elements are usually separated from his destination, the fire block, so that, in bringing Flaming Wario to the fire block, the player must engage with the transformation’s unique quirk, the three touch rule. That is, the player must plot Flaming Wario’s path around three wall touches so that he hits the third wall near the fire block, combusts, and enters the second state where he can then remove the block. The player can’t control Flaming Wario’s direction in the first state, he runs in whichever way he’s facing and only turns around after hitting a wall. This adds an extra layer of consideration to the route planning.

Flaming Wario’s run quickly brings platforms (and other game elements) into frame, shortening the window of time to jump from one platform to the next. The tests of reflex inherent to the transformation are another form of engagement. Where the three touch rule adds a puzzle element, the run adds an action element. The two properties complement each other as the run persuades the player to plot Wario’s path before he transforms, since it’s difficult to control him and determine the best way forward at the same time.

In Flaming Wario’s second state, after he combusts, the engagement shifts to moving the character to the fire block within the time limit. This is akin to Bouncy Wario’s first state.

The ceilings don’t count as wall touches.

Frozen Wario

 

Modification: Wario becomes frozen and glides backwards, the player loses all control

Transformation Elements: Yukiotokos

Interaction Elements: None

Restriction: Contact with a wall or water

 

Yukiotokos are yeti-like creatures which blow ice breath projectiles that transform Wario into Frozen Wario, a horizontally-inclined Bubble Wario. The player can take advantage of Frozen Wario’s glide to direct Wario into otherwise out-of-reach areas. Lining up the Yukiotoko with the destination is the core engagement.

There are two external factors which increase engagement. The first is gravity, which forces the player to factor height into Frozen Wario’s sliding path. The second is that Wario can manually move Yukiotokos, which allows the player to determine Frozen Wario’s starting point, adding an element of strategy to the process.

Since the player has no control over Frozen Wario, there’s nothing engaging about using the transformation. All the interesting stuff happens before Wario transforms, in the player’s head. This is the reason why Wario glides quickly, to minimise negative space.

Magic Carpet

 

What’s this? There’s no magic carpet transformation?! Indeed, there isn’t. The magic carpet is a level element from Arabian Nights which allows Wario to take to the skies. Like the transformations though, it offers the player a unique way to navigate space. So it seems only fitting to discuss it here.

In Arabian Nights, most rooms have at least one magic carpet. When Wario steps off a carpet, the rug rises into the air and slowly falls to the ground. So, if Wario walks over a rug, it’ll flutter up behind him as he steps off. Alternatively, if Wario jumps off the rug, it’ll undercut his jump, catching his fall. The player can then continue to jump to lift Wario higher and higher into the air. The rug falls in the direction Wario faces.

The magic carpet is similar to Vampire Bat Wario. Vertical movement is controlled by pressing a button and horizontal movement through the d-pad. However, the player doesn’t need to button mash to keep Wario afloat, nor do they have to hold down on the d-pad to change his direction, a quick press is suffice. Because the inputs are slightly different, so too is the engagement. The player still needs to operate in two frames of mind as to controlling Wario’s movement across the two axes, but less dexterity is required. Since the rug’s horizontal movement is automatic, like Puffy Wario, it’s easy to oversteer, prompting the player to constantly micromanage the direction Wario faces. Similarly, because the rug constantly descends, the player must also micromanage Wario’s jumps so as to keep him afloat. Since Wario can control the height of the jump and the arrangements generally require some command over height, the length of button press becomes the focal point of this second form of micromanagement. The primary engagement therefore comes from independently managing the two forms of input over the two different axes so as to move Wario to his destination. That is, doing two independent activities simultaneously.

When the magic carpet’s in the air, Wario can’t walk off the rug, he’s forced to stay on it until it touches the ground. (Unless, of course, he jumps off). This ensures that the player doesn’t accidentally push Wario off the rug when changing directions to steer. An indirect consequence of this safety measure is that Wario can DASH ATTACK on the spot, at the end of the rug, running off the carpet when it touches a wall or floor. The one caveat being that because the rug falls in the direction Wario faces, Wario can’t change his direction mid-DASH ATTACK, and the rooms in Arabian Nights aren’t terribly wide, most of the DASH ATTACKS off the rug lead directly into the nearest wall.

Wario bounces on the rug when he SMASH ATTACKS it. Hold A and he STOMP JUMPS.

The player must be careful not to drop the rug in water or leave it in a position that Wario can’t reach.

Swimming

Speaking of water, swimming is another form of navigation, the most significant outside of Wario’s neutral state. It takes Vampire Bat Wario’s horizontal and vertical movement and fleshes them out into two separate systems, while introducing a new form of engagement.

 

Vampire Bat Wario moves vertically by flapping his wings, the longer the button press, the higher the ascent. This is true of the FORWARD and UPWARD STROKES in regards to their respective axes. To move Vampire Bat Wario horizontally, the player must press and hold down on the left or right arm of the d-pad. This is also the case with SLOW SWIM, which allows Wario to move vertically as well as horizontally. The FORWARD and UPWARD STROKES (combined) and SLOW SWIM give the player a choice between speed and precision.

Buoyancy replaces gravity as the core engagement. The dynamic sends Wario upwards, making it an inversion of gravity. The pull, however, is much weaker and only affects Wario when he’s idle or in recoil. The influence of buoyancy is therefore downplayed. Where the player must constantly engage with gravity on land, they can swim underwater without paying any attention to buoyancy, granted that they swim without stopping. The engagement comes from managing Wario’s unsuspecting displacement in the downtime between strokes.

The reason why buoyancy is downplayed and the swimming mechanics offer a high level of control is because Wario must deal with enemies underwater. When transformed or on a magic carpet, it’s the opposite: enemies pose little to no threat and Wario’s mobility is limited. The difference between swimming and the other forms of navigation is in the increase of player control and enemy power.

 

Underwater, both parties have greater control over the space between them. Thus, what ultimately makes swimming engaging, and unique from other forms of navigation, is the higher level interplay with the spatial dynamic.

Like Mario, Wario is blessed with incredible lungs that allow him to swim underwater for an infinite amount of time without the need for oxygen.

Level elements are the building blocks of a level. They facilitate interaction through the game mechanics. Put a few of them together and you have yourself an environment for the avatar to play around in.

I’ve broken level elements into three categories: essential, regular, and exclusive. Essential level elements are necessary to the functioning of a level. Regular level elements are present in most levels. Exclusive level elements are restricted to a single level or a handful of them, some people might call these gimmicks.

Essential Elements

As we did with the game elements, I want you to first think of the essential level elements for yourself and then check your answers. There are six in total. The screenshot below offers a few clues.

I haven’t included obvious elements such as the ground, walls, rooms, doors, divides, and pipes as they’re rather self-explanatory. Except that all pipes are vertical and straight, and divides between rooms are marked with low ceilings.

Vortex

Purpose: An entry and exit point to the level

Vortexes warp Wario out from the passages of the Golden Pyramid and into the paintings on the walls (the individual stages). Before each level, a cutscene shows Wario stepping on a frog switch to open the vortex. As Wario enters the level, the environment is frozen, springing to life once he falls from the closing portal. This minor detail helps strengthen the connection between the still painting and active game world. The only way to re-open the vortex and exit the level is to find a frog switch, as established in the initial cutscene. Every time the player enters a level, they’re reminded of the folded level design. Only Wario can enter the vortex. The player can’t throw rocks into the black hole, for example.

Frog Switch

Purpose: Facilitate tension and folded gameplay

The frog switch doesn’t just open the vortex, it defines the tone of the second part of the level, the post-fold. Each frog switch is rigged to a bomb. If Wario doesn’t exit the level in time, his coins drain until he’s out of money and kicked out the stage. For some reason the bomb never explodes. It’s just a ploy.

The frog switch can also awaken enemies, activate certain level elements, redirect Wario through new rooms, and cause an environmental overhaul. So where the timer adds tension, the changes to the level subvert the player’s understanding of its construction, culminating in a tense second act.

Transformations are rarely in vicinity of the frog switch. When they are—like in Palmtree Paradise, with Fat Wario—Wario can’t reach the frog switch in his transformed state.

Frog Blocks (and Frog Locks)

Purpose: Open and close access to certain areas so as to create routes exclusive to pre- and post-fold

The majority of the frog switch’s alterations are played out through frog blocks. These blocks usually cover various pathways which the frog switch either opens or closes, like point blades on a railroad switch changing the path of the train. Frog locks are similar to frog blocks, but prevent the player from entering doors.

Keyzer

Purpose: Make the player an active explorer, facilitate level progression

The Keyzer is a sleeping ghost floating dormant in each level. When Wario touches the Keyzer, it wakes up and accompanies him back to the passage where it uses its key nose to open the door to the next stage. If the player misses the Keyzer, they can’t open the door to the subsequent level and must therefore repeat the last stage to find him. Being a ghost, the Keyzer isn’t affected by other game elements. The exception being Yurei from Crescent Moon Village who himself is a ghost. The Keyzer generally rests in plain sight, however, the player must constantly remain observant as they can be easily missed.

Jewel Pieces

Purpose: Make the player an active explorer, facilitate passage progression

One could ignore the jewel pieces and still complete a level—this is true, however, without collecting them all, it’s impossible to reach the passage boss. Assuming that players wish to complete the game, jewel pieces are essential level elements.

Four jewel pieces, spread evenly throughout each level, form a key which fits into one of the slots of a passage’s boss room door. When all slots are filled, the player can proceed to the passage boss. So long as they explore most of the level, they’ll more than likely stumble upon all four pieces. In this way, the jewel pieces encourage the player to be observant of their surroundings, as missing just one quarter means replaying the entire level to retrieve it.

Music CD

Purpose: To facilitate scalable difficulty

Music CDs, hidden in each level, are secret rewards for exploration. Unlike jewel pieces and the Keyzer, music CDs are optional elements which present the choice of deeper engagement. The CDs themselves are the same colour as the passage.

Regular Elements

 

Essential level elements, as fixtures of every stage, provide a reliable template that guides the player through the level. Regular level elements, exclusive level elements, and enemies elicit a set of interactions which, when put together, tell a narrative through their functions set in context. In this section, we look at the regular level elements, the primary building blocks of Wario Land 4’s level design.

Platforms – Through, Solid, Slippery, Industrial, and On/Off Platforms

Purpose: To engage the player with the jump mechanics

Platforms are self-evident in a platforming game: they maintain the avatar’s vertical position and have them engage with gravity through the jump mechanics. There are several types of platforms in Wario Land 4. Through and solid platforms are the two main variants. The former can be jumped through from underneath, the latter cannot. Distinguishing the difference is a case of form fits function. I’ve taken some screenshots of through and solid platforms, try to guess which is which. Answers are at the end of this section.

 

Slippery platforms (and floors) punctuate Wario’s stops with a drift in the direction he was moving. The slippage gives the player another variable to factor into navigation, increasing their engagement.

Industrial platforms are unit-wide platforms which move from left to right and have a propellor underneath to stay afloat. Their movement and limited size create risk, eliciting observation before the player makes a jump (knowledge). For some reason, Wario can’t SMASH ATTACK the platforms.

On/Off platforms are thin platforms which fade in and out of existence. They’re rarely used to much effect.

Blocks–Regular, Unit, Thick, Fire, Snow, Contextual, and Weak Blocks

Purpose: Empower the player by giving them something to attack, destroy, and reshape

Platforms may be a genre staple, but blocks arguably hold as much weight in Wario Land 4’s game design. They encourage the player to use the attack mechanics. Despite doubling as platforms, blocks are never used as such, as the player can remove them from play.

Blocks follow a similar psychological principle to coins in most platforming games. They’re there, so why not go ahead and break them? Or, in the case of coins, collect them. Breaking a block may seem like a trivial interaction, but as a way of shaping the game world and asserting Wario’s power—and your own—it’s empowering. Think of how many times you’ve smashed up a few blocks just for the sake of it. I bet you weren’t doing it for just a few piddly coins, right? (Although that plays into the psychology too). It just felt good. Blocks allow us to express ourselves which is why we love them.

Blocks come in seven flavours. Regular blocks are 2 units high, 2 units wide and can be broken with any attack. Unit blocks are 1 unit high, 1 unit wide, but otherwise identical. They often conceal unit-high passages that Wario can ROLL or CROUCH WALK through. Thick blocks are 2 units high, 2 units wide and require a DASH ATTACK or HEIGHTENED SMASH ATTACK to break. Their darker colour distinguishes them from regular blocks.

Fire and snow blocks can be cleared by Flaming and Snowman Wario. Contextual blocks are regular blocks with a level-specific appearance, such as the crate boxes in Crescent Moon Village. Weak blocks are a sort of contextual block, functionally identical to regular blocks, but with a cracked appearance. They’re spread in amongst terrain, breakable terrain, and regular blocks to create observation challenges in The Toxic Landfill.

Breakable Terrain

Purpose: Conceal secrets hidden in walls

Some walls and floors are regular blocks in disguise, hiding secrets behind them. Why is it then that we don’t attack every surface in pursuit of hidden treasure? Firstly, that would be insanity. Secondly, the game world uses visual clues to arouse a suspicion that players then act on. There’s never a breakable chunk of terrain without a visual marker to accompany it. If there was, the game would condition paranoia. Instead, the visual markers teach players to look for discrepancies within patterns.

You can see some examples of breakable terrain in Toxic Landfill and here: http://youtu.be/k5wsHZANR_M

Water

In water, buoyancy is the central game dynamic, as opposed to gravity. Water also brings with it the obligation of a suitable context, such as a tropical island or river.

Water Currents and Conveyor Belts

Contrary motion operates differently on land to in water. On land, Wario is bound to the ground area because of gravity. Contrary motion is therefore set along the ground, where it’s most effective. This is the basic design premise for conveyor belts in platforming games. In water, Wario can move freely along both axes, so the concentrated area of play is much larger. The contrary motion therefore ought to be larger as well. This is the theory behind water currents.

Currents are much harder to avoid as they fill an entire area and have a stronger pull than conveyors, which can be jumped off to diminish their traction or avoided altogether with a well-timed jump. Their application reflects these properties. Wario’s only ever required to swim perpendicular to the currents, grabbing crystals or turning off junctions, while he must cross the conveyors and sometimes jump between multiple conveyor platforms.

Coins and enemies aren’t affected by conveyors, and the DASH ATTACK can’t nullify their pull.

Projectiles–Rocks, Dr. Arewo Stein, Glass Balls

Rocks, Dr. Arewo Stein, and glass balls are the three unique types of projectiles¹. Rocks are impervious to Wario’s attacks, but fly off-screen when touched by some of his transformations. Dr. Arewo Stein is a clichéd explorer-type Wario finds in puzzle rooms, the main hall, the Golden Passage, and some cutscenes. I call him “the prof” for short. Playing to Wario Land 4’s oddball humour, this character is also a projectile. Stein is functionally identical to rocks, except that he can break blocks underwater and is personalised with a series of strange voice clips.

Glass balls break when hitting a surface. The player must therefore be careful that Wario doesn’t JUMP into a ceiling or gets bumped when holding the projectile. Despite breaking when they hit a switch block or wall, glass balls can somehow clear rows of unit blocks.

Green Birds

Green Birds are large, chubby birds that spit out an endless supply of glass balls. Once one glass ball breaks, the bird spits out another. Green birds are only found in the purple pipe puzzle rooms. Without a level element to generate glass balls, Wario would have to manually exit and re-enter a room to respawn a glass ball every time one broke.

Unit-High Passages

Unit-high passages are tight channels, 1 unit tall, that Wario can only enter when in the crouched or rolling states. If the passage is raised off the ground, Wario needs to CROUCH or ROLL JUMP his way in. Unit blocks or breakable terrain filling in the passage elicit the player to ROLL on through or CHARGE THROW a projectile to floss out the insides.

Slopes

Slopes are slants that Wario can ROLL down. They come in various sizes, with the smallest only a unit tall by a unit wide. Since slopes help Wario enter the rolling state, blocks and unit-high passages are often located nearby. In the case of Snowman Wario, snow blocks replace regular blocks. Marked with a snow ball icon, the blocks are put 1) far enough from the slope that Snowman Wario can build up a sufficiently sized snowball to break the block and 2) along the path following the slope, as Snowman Wario can’t ROLL JUMP.

Because slopes need at least some height to function, they double as as small hills which slow Wario down by catching him on their slanted surfaces.

Switch Blocks, Solid Blocks, Block Outlines, and Slope Blocks

Switch blocks are switches that Wario can attack or jump at from underneath to turn block outlines into solid blocks and vice versa. Depending on their implementation, flicking the switch block may, for example, activate a bridge or remove a wall, granting access to a new area. Slope blocks are placed on each step of a staircase. When activated, they turn into right-angled triangles, transforming the staircase into a slope. Think evil lairs from Saturday morning cartoons and you’ve got the idea. Colour is used to distinguish pairs of switch blocks and block outlines/solid blocks/slope blocks.

These locks and keys add an extra step of interaction to their respective arrangements, having the player first activate the necessary level elements through the switches. Mini-arrangements can also be put between the switch block and block outlines/solid blocks/slope blocks to flesh out a single interaction, the flick of a switch, into a string of multiple interactions.

Ladders and Meshing

Ladders and meshing provide a means for Wario to move between floors. Since ladders are only a unit wide, Wario can’t CLIMB horizontally along them as he can on meshing. Ladders are like through platforms in that Wario can walk past them, THROW projectiles through them, and stand on top of them. He can’t, however, stand on meshing.

Light Sources – Lamps and Lights

Light sources revert Zombie and Vampire Bat Wario back to Wario’s original state, and thus act as obstacles to be avoided when in one of these transformation states.

Concealed Areas

First pioneered in Super Mario World 2: Yoshi’s Island, concealed areas are cut-off alcoves hidden behind a layer of texture. It’s only when the player notices some visual clue from the outside and enters that the concealing texture lowers in transparency, revealing the hideaway and its contents. Rewards are usually placed inside to spur exploration.

You can see some examples of concealed areas in the reference².

Answers: 5,6,7,9,12 are all through platforms

Exclusive Elements

 

Exclusive level elements are limited to a single level or a select few levels. They can develop a stage’s core theme or just add functionality where needed. For example, Arabian Nights contains two exclusive level elements: the magic carpet and transformation tubes. The majority of arrangements involve navigating the magic carpet (core theme), however, one room uses the transformation tubes as keys to access the Keyzer (added functionality). The exclusive level elements are sorted by levels.

Flowers

Purpose: Umbrella Wario from Beezley attacks

Level: Wildflower Fields

Flowers shield Wario from Beezley’s stinger attacks. If the bee misses Wario and hits the flower, its stinger gets caught in the flower’s bud for a few seconds, leaving it vulnerable to attacks. After being stung, the flowers can wither up and be attacked for a few loose coins.

Swinging Platforms

Purpose: Increase timing skills in platforming

Level: Monsoon Jungle

Jumping from one platform to another is easy enough. Jumping from one swinging platform to another requires that the player wait for the two platforms to be in range before jumping.

Wheel Platforms

Purpose: Present different variations of platforming challenges

Level: The Curious Factory

Wheel platforms consist of four small platforms on a circular gear attached to a rail. To drive the wheel platform along the rail, Wario needs to step on either the left- or right-most platform. The level element divides a single jump into a series of multiple jumps. Thus, using the device is inherently risky as there are more chances for error. Because the player displaces the wheel, many interesting situations can emerge from the level design and respawning properties of the wheel. We’ll explore these possibilities further in the Level Analysis.

Rotating Platforms

Purpose: Increase timing skills in platforming

Level: The Curious Factory

Rotating platforms are similar to wheel platforms, but only have two platforms and spin around independently, on the spot. Think of them as swinging platforms with a different movement pattern.

Crushers

Purpose: Transform Wario into Flat Wario

Level: The Curious Factory

Crushers squish Wario into Flat Wario. Their lights shine red when attacking and blue when cooling. Once Wario is flattened, the machines stop operating.

Decompressors

Purpose: Revert Flat Wario to the neutral state

Level: The Curious Factory

Decompressors return Flat Wario to his normal form.

Pinballs, Catchers, and Master locks

Purpose: Get the player to practice the throwing mechanics and moving while holding an object

Level: Pinball Zone

Pinballs are projectiles. Catchers catch them. Master locks open after four pinballs have been thrown into catchers. Together these level elements create throwing exercises. The catchers have little orange nippers which open and close at fixed intervals, requiring the player to time their throws correctly. These nippers are akin to a hungry mouth, and communicate function through their likeness.

Cat Blocks

Purpose: To allow sequence puzzles

Level: Toyblock Tower

Cat blocks are blocks that respawn when Wario leaves and re-enters a room. Because the level element allows the player to undo fail states and Wario interfaces with it through the attack mechanics, cat blocks are used to create block-removing sequence puzzles. Cat blocks don’t drop coins for obvious reasons.

Shape Blocks and Keyholes

Purpose: Flesh out arrangements

Level: Toyblock Tower

Shape blocks and keyholes are a more literal representation of a lock and key than switch blocks and block outlines/solid blocks/slope blocks. With the latter pair, Wario needs to flick a switch. With the former, he needs to carry one object to the other. While both sets of level elements fatten arrangements with added interactions, moving the shape block to the keyhole is more engaging as the player must be careful not to drop the shape block and factor its jump-shortening weight into navigation.

Dice Switch, Game Board, and Get! Sign

Purpose: Allow the player to participate in a meta-level board game, add a reflex-based lock on the arrangement

Level: The Big Board

The Big Board is designed around a board game. Throughout the level are dice switches cycling through the numbers one to six. When Wario’s close to a dice switch, the game board appears on-screen. Hitting a dice switch stops the rotation and sees Wario move so many squares along the board. Each square has a different effect on the game world, such as spawning enemies or transforming Wario. These effects are needed to interact with the arrangements in each room, giving the player a reason to land on a particular square. The Get! sign shows them which square to roll for. The numbers rotate slow enough that the player can, with a little reflex, time the dice roll to get the number they’re after.

Posts

Purpose: Slow the player down, assist Yurei and Hoggus

Level: Doodle Woods and Crescent Moon Village

Posts can be found in Doodle Woods and Crescent Moon Village. What do these two levels have in common besides an abundance of wooden stubs? Hoggus and Yurei, flying enemies that threaten Wario from above. Posts require a full JUMP to hurdle over, temporarily holding Wario’s horizontal position and thereby creating short, opportune instances where Hoggus and Yurei can swoop in and bother him.

Push Pencils

Purpose: Add more interaction to platforming

Level: Doodle Woods

Push pencils are platforms stuck in walls that Wario can attack from one side to push it out to the other. This is another way for the player to unpack the arrangement.

Foldy Doors

Purpose: Open and close access to areas of a level

Level: Doodle Woods

As with frog blocks, foldy open up new routes post-fold.

Domino Starters and Enders

Purpose: To create capsules of time-driven gameplay

Level: Domino Row

Most rooms in Domino Row have a file of dominos lined up on the background layer. Walking past a starter (gate) knocks the first domino, setting off a chain reaction. They continue to fall until the last domino lands on an ender (switch), which raises a flag. If Wario can raise the flag first, domino bricks concealing a secret area will be removed and the player can claim the rewards within. The enders drop spoils.

These devices together form races against the dominos, where Wario has to reach the finishing line in a limited time. The tension of the timer and prospect of a reward make the race engaging and worthwhile.

Time-active Platforms

Purpose: To provide access to higher areas while the dominos are falling

Level: Domino Row

Time-active platforms are platforms which are only present as the dominos fall. The spinning clocks inside the platforms denote their relationship with time.

Transformation Tubes

Purpose: To spawn transformation elements

Level: Arabian Nights

Wario spawns Miniculas and Beezleys when moving through transformation tubes. Think of them as yet another way to add a few interactions to the start of an arrangement. In its single application, the Miniculas and Beezleys are keys, and thus the tubes are key generators.

Magic Carpet

Purpose: A unique way to navigate space

Level: Arabian Nights

Magic carpets are platforms which ascend with Wario’s jumps and float in the direction he’s facing when he’s on top. I often refer to the magic carpet as the “rug”.

Lava Pits and Geysers

Purpose: To create dynamic risk and add a timing element to platforming

Level: Fiery Cavern

Lava hurts Wario when he touches it, so lava pits are obstructions that ought to be jumped over. Lava geysers, which rise out from lava pits, encourage the player to wait until the lava is either low enough or gone before jumping (timing). The higher the geyser, the longer it will be before the next geyser rises. This dynamic proposes an interesting question to the player: does one make a difficult jump early, when the geyser’s higher, to avoid getting caught by the subsequent geyser or make an easy jump later, when the geyser’s lower, but risk being caught by the subsequent geyser on the uprise?

Multi-Colour Transport Pads

Purpose: To teleport the player back to the centre of the room

Level: Hotel Horror

Multi-colour transport pads are fluorescent spaces which transport Wario to the centre of the room when he touches them.

Switch Ladders

Purpose: To add another step of interaction to CLIMBING ladders

Level: Hotel Horror

Switch ladders are ladders activated by a switch block. They’re used in arrangements in a similar fashion to block outlines, solid blocks, and slope blocks.

Chandeliers

Purpose: To encourage observation

Level: Golden Passage

There are two types of chandeliers: active and inactive. Active chandeliers wobble from side to side before falling when Wario enters their proximity. Inactive chandeliers are just window dressing. If a chandelier hits Wario or Wario touches the blue flame it leaves behind after hitting the floor, he’ll transform into Flaming Wario.

Enemies

 

Wario Land 4 has over forty enemies, which makes this overview one of the largest sections in the book. There are four enemy types: Spearmen-esque, unique, underwater, and transformative. Spearmen-esque enemies are riffs on the common Spearman, with minor functional alterations and an appearance fitting the respective level/context. Unique enemies aren’t derivatives of Spearmen; they have their own abilities and characteristics. Underwater enemies are only found underwater. Transformative enemies can transform Wario into one of the many transformation states, but can’t hurt him. This overview is organised according to these classifications, but first some considerations.

Considerations

There are ten Spearmen-esque enemies, twenty unique enemies, four underwater enemies, and ten transformative enemies, making a total of forty-four. The Spearmen variants are the most common of all the classes. This section doesn’t include enemies from boss battles, which are better explained in context of the battles themselves.

Enemies have two core functions: to get the player using the attack, traversal, and jump mechanics in various different applications and, as punishments, to add risk to the game. Most enemies are straightforward. Others have a process of steps leading to their defeat, seemingly puzzles unto themselves. Don’t be fooled though. Enemies aren’t puzzles, but puzzle pieces. The Caterpillar-esque Imomushi isn’t very interesting on its own. It can’t attack, run, or jump at Wario. The only thing the humble Imomushi can do is crawl. Yet, when you arrange several Imomushis along platforms, as in the reference, the innocent caterpillar becomes an unassuming pest who bumps Wario off the platforms. This arrangement of Imomushis and platforms is a puzzle which the player has to solve, albeit a simple one. The enemy itself is not.

 

Game elements that can’t punish the player outright, but create the conditions under which the player can be punished still fit under the definition of an enemy. Hoggus is one such example. He can’t attack Wario, but he can spawn enemies which lead to Wario being attacked.

The transformative enemies are a little different from the other enemies. They have a third core function: allow Wario to transform. Also, instead of

punishing the player by reducing Wario’s health, they transform him when he doesn’t need to be transformed, thereby wasting the player’s time.

Wario Land has thirty-five enemies. Wario Land 2 has twenty-nine. Wario Land 3 has thirty-two. Wario Land 4 has forty-four. The figures from the earlier three games are taken from the Super Mario Wiki1. Although there are probably some holes in my calculations (the wiki seems to include boss battle enemies, but not minor hazards, like spikes), Wario Land 4 still has the greatest number of enemies by a wide margin. As an aside, consider that Super Mario Bros. only has fifteen enemies and several of them are variants (eg. Koopa Troopa and Koopa Paratroopa).

All land enemies generally exhibit the same basic properties:

 

• Have three states: neutral, knocked, and paralysed.
• Have weak and offensive points.
• Attacking the weak point defeats the enemy.
• Touching an offensive point hurts Wario, causing him to lose a heart, some coins, and recoil.
• Touching a weak point causes both Wario and the enemy to enter the knocked state. The enemy then turns around and walks in the opposite direction.
• Knocking an enemy into a wall causes them to flip over and become paralysed.
• Jumping on or up into an enemy’s weak point paralyses them.
• Wario can PICK UP a paralysed enemy.
• Walk along a platform or flat surface until they reach an end point (the end of the platform, a wall, a change in topography, or the edge of the screen) and turn around.
• Jump when Wario SMASH ATTACKS the ground and flip over when Fat Wario lands a jump or Wario HEIGHTENED SMASH ATTACKS.
• Dropping one enemy onto another doesn’t do anything.
• Die when a projectile is thrown into them.
• Transformative enemies turn around to fire a projectile at Wario when he’s in range.

Above ground, vertical movement is inherently limited due to gravity. Enemies therefore only need routine, walk-back-and-forth AI to engage the player. In water though, Wario can swim vertically with minimal resistance from buoyancy. Swim-left-to-right AI is therefore insufficient. To preserve the power relationship between enemies and Wario, underwater enemies move faster, have more sophisticated movement patterns, and cover space in their own unique ways.

For each enemy, I list their purpose, spoils, and tactic. Purpose is their role in the game. Spoils are the coins and small hearts they drop once defeated. The number in parenthesis is the value of coins dropped in coin units. Tactic is how Wario can beat the enemy.

Spearmen-esque Enemies

Marumen (Purple, Red)

Marumen are the first enemies Wario encounters. They’re nothing, but harmless fodder which store coins and are good for pegging into walls. By SMASH ATTACKING the ground next to them, they change their colour from purple to red and vice versa. In their red state, Marumen drop more coins. This property gives the player more incentive to interact with the enemy. Marumen are rare, if not absent, in the hard and super hard difficulties.

Spearmen (Yellow, Blue, Red)

Spearmen are Marumen who attack Wario with their spears. They hold their pointy lances in the direction they’re facing, leaving two areas open for attack: the head and back. Like Marumen, Spearmen come in different flavours that the player can alternate between by SMASH ATTACKING the ground. The differences are:

• Yellow–Walks to the end of a platform and turns around.
• Blue–Same as above, but twirls spear, defending their head, when changing direction, switching from another colour, or after recovering from being knocked back.
• Red–Same as above, but raises spear and runs towards Wario when nearby.

PET Bottle

Aside from spoils, identical to yellow Spearmen.

Toy Car

Identical to yellow Spearmen.

Dice Men

Dice Men are dice with arms and legs. They hold spears and appear in The Big Board when Wario lands on an enemy square. Dice Men spawn in groups of three and stand around on the spot waiting for Wario to make use of them.

Imomushi

Imomushis pose even less of a threat to Wario than Marumen as they walk at a slower pace and stand at only half the height. Spread along the floor, they encourage the player to either jump over or DASH ATTACK through them.

Moguramen

Moguramen are mole-like creatures with a drill mask on their face. They dig underground, but can also be found above ground too. Underground, Moguramen walk horizontally in a straight line, kicking spiked balls up behind them into the ground area above. SMASH ATTACKING the ground sends them up to the ground floor where they’re identical to yellow Spearman. When paralysed, their offensive point, the drill on their face, no longer hurts Wario.

Men’ono

Men’ono are pink, halloween-themed creatures that wield axes. When Wario’s nearby, they run towards him and, once close enough, go for the chop. The nippy dash can catch the player off guard, challenging their ability to react (reflex). Men’onos can also walk up slopes; another trick which can surprise the player. The enemy is half a unit taller than other Spearmen variants.

Onomi

Identical to Men’onos.

Deburina

Deburinas are slow-moving ballerina pigs that come alive from posters on the walls in post-fold Doodle Woods. They move by spinning. As they spin, their skirt whip ups, acting as an offensive point on their left and right sides. The player needs to be cautious of the two offensive points when jumping over a Deburina, so that Wario doesn’t clip the skirt as he falls.

Unique Enemies

Totsumen

Totsumen are creatures that wear masks with a pointed tip protruding out from their head, their offensive point. They have two states: walking and charging. When walking, the tip points upwards, making their front and back weak points. Totsumen charge, like a bull, when Wario’s in close horizontal range. When charging, their tip points out in front, making their head and back weak points. Each state gives the player a different way to interact with the enemy, which makes them rather dynamic foes. Totsumen continue to charge until they hit a wall or slope, regardless of whether or not they fall off a platform. This aspect allows the player to take advantage of the enemy and personalise play. Totsumen enter the charging state as soon as Wario’s in range, so it’s practically impossible to attack them front on, unless Wario’s already ploughing ahead with a DASH ATTACK.

Tobawani

Tobawanis are crocodiles that swim back and forth along divides of water. When a Tobawani’s vertically aligned with Wario, it leaps out of the water in a straight line to attack him. The player can avoid the attack by quickly moving horizontally or jumping above the croc’s reach. After landing back in the water, the Tobawani briefly swims faster in the direction they were travelling so as not to constantly align with Wario and interrupt his movement. When Wario crosses a pool of water, it’s inevitable that a Tobawani will jump out, since it’s impossible to pass without aligning at least once. Tobawanis make platforming over water tricky as the player must safely navigate the platforms and be concious of the crocodile at the same time.

Tobawanis are used in conjunction with swinging platforms. These exclusive level elements create timing challenges where the player must determine when two platforms will be close together before jumping. The Tobawanis attack the player while they’re waiting for the right time to jump, potentially throwing off their timing.

If a Tobawani faces Wario in the water, it’ll rapidly swim towards him. If Wario swims into a Tobawani from underneath or behind, he’ll push the enemy forward.

Harimen

Harimen are spiked enemies who can only be defeated through unconventional means. They’re often placed at the bottom of a drop, acting as moving sets of spikes with interplay.

Harimenzetto

Harimenzetto are a superior form of Harimen which require further unconventional means to defeat.

Togerobo

A Togerobo is a slow-moving robot. Its spiky ball head and blue body are together 2 units tall, 1 unit each. The robot’s spiked front and head can harm Wario. When the enemy’s within half a screen length away, its head pops out and rolls towards Wario. It continues to roll until it hits a wall. A replacement heads spawns a second later. Wario can change the direction of the spiky head by SMASH ATTACKING the ground shortly after it starts rolling. In what can only be considered an oversight, the player can’t exploit this technique to defeat Togerobo with its own head, which just rolls past the robot.

In its head-less state, the top of Togerobo’s blue body is exposed as a weak point. Its unprotected back is a weak point too, but full JUMPING over the robot when its head is still on is risky, given that it’s possible for the head to pop out and hurt Wario. As with the lava geysers, Togerobos present the player with interesting questions: do they wait for the enemy to drop its head or full JUMP over the head as it sits on the body? The former values safety at the expense of time, while the later values time at the expense of risk.

Robo Bird

Robo Birds are mechanical birds that fly towards Wario in a straight line when he’s in close horizontal proximity. They’re placed in blind spots to catch the player between jumps, forcing them to dodge after already putting Wario in motion. To safely navigate around them, the player needs to move Wario into their range to lure them out, before retreating to a safe distance where he can easily avoid them. This can be tricky to pull off as Robo Birds only advance when Wario’s immediately close to them. Once the player’s prompted the enemy to move, they’ll likely try to dodge right away, given Wario’s tight proximity. The Robo Bird, however, counters such knee-jerk reactions by moving deceptively slow, making it easy to catch Wario on the fall of a premature jump. Compared to other enemies whose attacks are dependent on Wario’s relative position, Robo Birds have a shorter range and slower movement. These subversive properties make the enemy difficult to judge and explain why they can only be found in the hard and super hard difficulties. Wario can defeat Robo Birds by jumping on them from above.

Hay Balls

 

Hay Balls fall from the sky and roll towards Wario. With no visible weak point, most players aren’t likely to realise that they can be cleared with a ROLL. The slopes alongside Hay Balls artificially compensate for the lack of form fits function. The enemies are difficult to avoid as they fall and roll quickly. As shown in the reference, when Wario crosses a certain point on the horizontal axis (the lined areas), a Hay Ball spawns from the respective spawn point (the arrows). So long as Wario remains stationary on that point, new Hay Balls will continue to spawn every time the one in play hits a block or wall and breaks. On hard, the distance between Wario and the spawn point is shortened and many Hay Balls spawn just before the slopes, catching Wario’s jumps.

Spikes, Spiky Balls (big and small), and Icicles

These three enemies threaten Wario with a loss of health, thereby manipulating the player to play in particular ways. The properties of each are different though.

Spikes are limited to the ground and ceiling, persuading the player to jump over or stay under them.

Spiky Balls come in two sizes, big and small. Small Spiky Balls are black, a unit in size, and float in mid-air. Big Spiky Balls are green with beady, little eyes. They’re a unit and a half in size and tend to be placed next to ceilings and walls. Spiky Balls are spikes without the limitation of floors and ceilings.

Icicles form on ceilings, fall, and then form again, interrupting Wario’s horizontal movement. They emit a sound at each step, which is necessary given that they can land on Wario when out of the player’s view. In this regard, Icicles encourage the player to not just look, but listen for enemies.

Hammerheads

Hammerheads come in two varieties: active and inactive. Active Hammerheads release two small Spiky Balls from the top of their head every few seconds. Inactive Hammerheads don’t. You can tell which are active by their blinking lights. Hammerheads of the same colour release Spiky Balls at the same time. Red and blue alternate their releases so that when one colour of Hammerhead have released Spiky Balls, the other is in wait².

Hammerheads double as platforms and are often arranged for the player to use them as such. However, because they release s from the same surface Wario lands on, the player needs to wait for the delay between releases before jumping onto a Hammerhead (timing). By virtue of several Hammerheads occupying the same space, the area around them becomes filled with moving Spiky Balls that spawn at a set intervals. To safely navigate these treacherous areas, the player must track the threats and monitor the time at which they spawn, adding timing and knowledge skills to the platforming.

Sparkies and Spark Boxes

Sparkies are balls of spark which run along the ground towards Wario, dying out when they hit a wall. They spawn from active Spark Boxes. The lack of active Spark Boxes on normal difficulty conditions the player to see these spawn points as window dressing so that when they become active on hard, the fast-moving Sparkies catch the player off guard.

Hoggus

Hoggus is a flying pig artist who oversees Doodle Woods. As a painter (Lakitu), he paints (spawns) a new picture (enemy) into the landscape (level) every 6 seconds or so. Hoggus positions himself at the top of the screen, on the left- or right-hand side depending on the direction Wario faces. When Wario turns around, Hoggus flies to the opposite corner so as to always stay in front of him. If he didn’t, he’d spawn enemies behind Wario where they wouldn’t be of much use. Although similar to Lakitu from the Mario games, Hoggus throws out two types of enemies instead of one, and Wario can’t steal his cloud. When two spawned enemies are on-screen, Hoggus waits until one of them has left before he starts drawing again.

If Hoggus’s paintings are obscured by a foreground element when he reveals them, before the enemy enters the level, no enemy spawns and Hoggus appears upset. He remains in this state until the player moves him out from behind cover. This is why Hoggus is absent from Doodle Wood’s interior areas: the roofs would prevent him from spawning enemies.

The Dendens and Butabis Hoggus spawns fill the barren Doodle Woods with interactions. Because they’re spawned in front of Wario, they intersect his horizontal movement.

Denden

Dendens are one of the two enemies that spawn from Hoggus’s paintings. The thorny-shelled snails inch back and forth until they’re close enough to Wario that they’ll curl into a ball, covering themselves in spikes, and roll forward until they hit either him or a wall and break. As with a Togerobo’s head, SMASH ATTACKING the ground causes a rolling Denden to change direction. In regular form though, SMASH ATTACKING sees the snail curl up and sit stationary, exposing their underbelly. Dendens that land on a bumpy surface also roll up into this vulnerable state. Denden’s complicated behaviour, protective layer of spikes, and confusingly-similar vulnerable and attacking states make the player apprehensive to interact with them.

Butatabi

 

Butabis are flying pig creatures that spawn from Hoggus’s paintings. On spawning, they swoop away from Wario and then towards him, back and forth, losing height with each successive glide. Their path is determined by Wario’s relative position which dictates the initial swing. Since each swoop is steep, falls quickly, rises slowly, and has the Butabi descend roughly 1.5 units (which is tricky to account for, given the half unit), it can be easy to misjudge the pattern. The horn protruding out from their head, which changes orientation on the back swings, can also prove troublesome. As can be seen in the reference, Butabis cover a wide area, being able to catch Wario when jumping, standing, CROUCHING, or falling. Their range, difficult-to-predict movement patterns, and constantly shifting offensive point make Butabis considerable foes. Once spawned though, the area they occupy is fixed, thus the player only needs to move out of their range.

Dendens and Butabis don’t drop spoils as if they did, the player could exploit the spawning enemies to amass an infinite supply of coins. Thus, the premise of Wario Land: The Shake Dimension would be rendered moot.

Yurei

Yurei is a pirate ghost who inhabits Crescent Moon Village. He can’t be touched and is only present in outdoor areas. Pre-fold, Yurei floats from left to right at the top of the screen, following Wario and swooping down to grab any stray coins that fall out of blocks or enemies. Post-fold, he pursues the Keyzer, pouncing for it every time Wario remains stationary for too long. If Yurei catches the Keyzer, he’ll float up to the top of the screen and hide. During this time, the pirate ghost flashes yellow and an alarm sound plays until the Keyzer is returned. Without the alert, the player may complete the stage not noticing that the Keyzer was stolen from them.

The best way to deal with Yurei is to keep moving so that he can’t catch up. He waits for Wario at each outside doorway, so the player must avoid at least one of his swoops. Similar to Hoggus, Yurei adds flavour to what would otherwise be vanilla arrangements.

Mayu Bird

Mayu Birds are small birds, with little nippers, that sway back and forth on the spot. Touching their pincers hurts Wario, bumping them from the side sees them move to a higher vantage point, while jumping on the head defeats them. Mayu Birds don’t drop any spoils as if they did, the trinkets would fall to the ground, leading the player downwards and thus encouraging them to undo their progress.

Iwao

Iwaos are stout rock men that throw boulders in the first instance of the Fiery Cavern. They summon said boulders when Wario’s nearby by slamming the ground with their fists, stunning him with a quake when on the ground. They then throw the boulder at Wario, which bounces forward into a roll and keeps rolling until it’s either off-screen or hits a wall and breaks. Shortly after, the Iwao prepares another boulder.

The quake’s stun disrupts the player’s flow and shortens the window of time they have to avoid the incoming projectile. Since the boulder is 2 units high, Iwao is 1.5 units high, and the throw lifts the boulder some way into the air, the height can easily trap Wario when up close. The player should therefore make a short JUMP to avoid the quake and then a full JUMP to clear the boulder when it’s closer to the ground (reflex and dexterity), before moving towards the Iwao to attack. A full JUMP is necessary given the bounces following the boulder’s fall. The quake, size of the boulders, and coverage of the throw are the sources of Iwao’s power.

The best method to defeat an Iwao is to move Wario right up close, wait until the boulder is thrown, and then SMASH ATTACK his head. To do this though, the player must first spot the hole in the boulder’s trajectory and not fear Wario being hit by the projectile.

Bumping, attacking, or jumping on an Iwao only knocks it slightly.

After Wario flicks Fiery Cavern’s frog switch, the Iwaos turn into Yukiotokos, denoting some kind of relationship between the two enemies.

Underwater Enemies

Goggley-Blade

Goggley-Blades are fish which swim in a rectangular formation. Their offensive point is the blade on their head and their weak point is their belly. When Wario aligns horizontally or vertically and is within range, Goggley-Blades charge towards him in a straight line. Avoiding is simply a case of swimming out from that linear path (reflex). Because Goggley-Blades often change axes and their fast chase can catch players off guard, the enemy forces the player to monitor and adapt to their constantly-shifting movement patterns.

Shieragutchi

Shieragutchis are spiked clams that sit on the ground. When Wario is in vertical range, they leap up to bite him. If successful, they drag him down to the sea floor. If the player dodges (reflex), they can then swim underneath the Shieragutchi and UPWARD STROKE its back to defeat it. The clams jump just before Wario aligns with them so as to make it easier for the player to expose their weak point.

Utsuboanko

Utsuboankos are giant eels that hide in dark holes. When Wario’s nearby, they spring out to bite him. Because Wario only needs to be near a hole for a Utsuboanko to reveal itself, as opposed to in front of a hole, the player is given reasonable leeway to react. If Wario avoids the attack, the eel looks confused and returns to his hole. In this state, the enemy can’t hurt Wario. In Mystic Lake, the only place you can find Utsuboankos, there are many dark holes, but only the ones with glowing red eyes in the middle contain Utsuboankos. By being observant of their surroundings, the player can determine where the Utsuboankos lie and swim around them.

Goggley-Blades, Shieragutchis, and Utsuboankos together cover horizontal, vertical, and fixed spaces. The trio give the player various ways to engage with the unique spatial dynamic underwater.

Togenobi

 

A Togenobi is a four-legged octopus (quadpus?!) with maces on the end of each leg. As the image shows, the four legs make a ‘+’ shape. Only the maces hurt Wario; he can swim right through the legs. Swimming past a Togenobi is tricky as their legs rotate anticlockwise while simultaneously extending and retracting. Monitoring the constantly changing positions of the legs and maces as you have Wario safely follow one of the quadrants around is like patting your head, rubbing your tummy, and hopping on one leg at the same time (adaption).

Transformative Enemies

Beezley

Beezleys are bees with stingers on their hinds. They float above ground and swoop down diagonally at Wario when he’s in range. As they swoop, they make a buzzing noise to warn the player. Since Beezleys only drop to 1 unit above the ground, Wario can avoid their attacks by CROUCHING. Jumping into a Beezley sends it retreating to higher vantage point.

By swooping diagonally, it takes Beezleys longer to reach Wario, which makes it easy to avoid their attacks. If they swooped in straight lines, then it’d be more difficult to interact with the bees as interaction is dependent on the player having enough time to respond to their attacks. On the other hand, their diagonal path allows them to cover a greater area.

Ringosuki

Ringosukis are supposedly monkeys. They throw apples which turn Wario into Fat Wario. The apples are thrown out at an arc, so oftentimes Wario needs to jump to reach one. Ringosukis are heavy enemies, so they can’t be thrown far, shorten Wario’s jumps when held, and survive when THROWN at a smaller enemy.

Menhammer

Menhammer are—surprise, surprise—men with hammers. When he’s in range, Menhammer jump towards Wario with their mallet ready to pound him, covering a height of 2 units and a distance of 4 units. The range and immediacy of their jump attack are balanced out by a sound played just as they launch off the ground, forewarning the player. Also, because the attack’s trajectory is fixed, Wario can step backwards, out of the Menhammer’s range, to easily avoid them. CROUCH SLIDING under the arc of the jump is another option, albeit a risky one. After landing a hit, Menhammer fall back paralysed so as not to clutter play when they’re not needed.

Bow Balloon

Bow Balloons shoot arrows in a straight, horizontal line when Wario is close to them. So long as he remains in horizontal range, it takes 2 to 3 seconds for the Bow Balloon to shoot a second arrow. The arrows pass through solid objects and continue moving until they leave the stage.

Yukiotoko

Yukiotokos are yeti-like creatures which blow puffs of ice. They’re functionally identical to Bow Balloons, except that their projectiles are larger and turn Wario into his frozen form. When Wario’s behind a Yukiotoko, the enemy will whip around to hit him with its ice breath. This makes them the most persistent of all the transformative enemies. They’re also the only enemy in this group to drop spoils.

Kaentsubo

A Kaentsubo is a walking torch that attacks by bending over and spreading a line of flames along the ground. If Wario touches a Kaentsubo’s flame or the fire it sets across the floor, he’ll transform into Flaming Wario. Because Kaentsubos are fragile, if they’re dropped, they’ll break.

Minicula

Miniculas are small bats which fly around in a circle. If Wario touches one, he’ll turn into Vampire Bat Wario. That is all.

Skeleton Bird

Skeleton Birds are exactly what the name suggests, just add a red scarf and green bandana. They float up and down, moving left to right in a sine wave pattern while spitting green goo diagonally towards the ground. The diagonal movement of the projectiles from varying heights traps Wario along the ground in a similar fashion to Iwaos and their boulders. Height and an unconventional movement pattern are the Skeleton Bird’s greatest assets. The projectiles break when they hit a solid surface.

 

Only in his zombie form can Wario attack a Skeleton Bird. After the initial contact, the enemy becomes paralysed, similar to Dry-Bones from Super Mario Bros. 3. Another bump or an attack in the neutral state defeats the enemy. This unusual means of attack allows the player to use the enemy’s own powers against them. Failure is a way of clearing the threat for good.

Pig Head Statues

Pig head statues spit fire onto the ground which Wario can then touch to transform into Flaming Wario. Unlike Kaentsubos, pig head statues can’t be interacted with.

Snow Clumps

Clumps of snow fall at regular intervals from the ceilings of icy environments. Slopes are always in the vicinity of snow clumps so that the player has a means of exiting the transformation. I sometimes refer to snow clumps as “falling clumps of snow” to emphasise their behaviour.