Legendary for the same reason that movies like Showgirls and Troll 2 still get screened in theaters all over the country. And then there’s the DK Rap – that’s become legendary over the years. Lumsy, and the belching, swaying pig and hippo duo Troff ‘n Scoff. There’s loud, obnoxious silliness at every turn, from incessantly giggling faeries, the overly animated and desperately “comedic” antics of the aforementioned NPCs, to the dancing, idiotic lunacy of the game’s resident gatekeepers: the giant, mutinous Kremling, K. Now, we need cutscenes and dialogue and a narrative, and DK64plays out more like a Saturday morning cartoon, and not a good one. Gone is any trace of the dark, brooding, epic sensibility its predecessors had. The first problem, or at least the one most immediately apparent, is the aesthetic.
Which makes it all the more tragic that DK64 runs so far amiss of its goal of becoming one of the greatest platformers of its day. But other abilities belong exclusively to the other Kongs, so he’ll need to save them as soon as possible if he wants to progress very far into the Island’s depths.Īll this gives DK64 a very dynamic sense of progression, and on paper, it’s brilliant. Some of these abilities can be purchased from the various NPCs who’ve set up shops all over the world. But DK is also limited in his ability to collect bananas due to his lack of particular techniques that cut him off from a great deal of the Island’s worlds. Rool has sent to impede DK’s progress, and the only way to get rid of them is by appeasing them with your Golden Banana collection (Golden Bananas are the Stars or Jiggies of DK64, if you will). DK is cut off from most of the Island by sentries K. Rool’s ship.īut it’s not that simple, of course.
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Now, DK has to free the other four Kongs he’ll rely on to navigate the complex network of labyrinths that twist and turn through both DK Isle and K. Rool has built an immense battleship and is bombarding the Island, sending forth a legion of goons who have enslaved all the members of the Kong clan except Donkey. Each world has a set of collectables that must be acquired to make other worlds accessible.ĭonkey Kong 64 follows this template as well, but something was lost along the way.ĭK64 starts with DK Isle in crisis.
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So that’s how we got Rare’s first platformer on N64: Banjo-Kazooie, which follows Super Mario 64 to a fault-start off in a hub world by which you enter a series of more specifically designed and thematic worlds. Thus, when any other developer dared to venture into the polygonal realm, they naturally used Super Mario 64 as a template. Super Mario 64 was the first 3D game that really gave an impression that the people who worked on it knew what they were doing. The end product was a game with a bit of an identity crisis, and understandably so considering the era in which it was released: an era where we were still awkwardly testing the waters of three-dimensional gaming. Finally, at the very end of the 90s, and three years since its last outing on SNES, Rare gave us the contemporary Donkey Kong game that many had been clamoring for.
Rare got to work creating new IPs to great effect with games like Goldeneye and Banjo-Kazooie. From the get-go, Nintendo wanted to take us into a new era, shelving a number of its legendary franchises. Nintendo gave us the N64, with its 256 megabit cartridges, graphics expansion paks, and ridiculous controllers designed for 3-armed aliens. And so, 3D reigned and the magic of the 16-bit era was swept into memory-and Donkey Kong Country along with it.
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