Unfortunately, by the time they were ready, the wave of Space Invaders clones had considerably dulled excitement for a game that was never as popular in the international market as it was in Japan. The second, and ultimately more hilarious, came during senate hearings on video game violence, where, in addition to lambasting the bloody fights of Mortal Kombat, one-time Vice Presidential candidate Joe Lieberman got "visibly distressed" while claiming that the Super Scope "looks like an assault weapon." movie, repainted to be the "Devo Guns" that turned Dennis Hopper into a puddle of slime. First, they were shoehorned into the truly incomprehensible 1993 Super Mario Bros. Instead, the true legacy of the Super Scope comes from two pretty dubious moments in Nintendo history. While light-gun games would remain popular for the next couple of generations thanks to titles like Lethal Enforcers, there were only 11 games ever made for the Super Scope, and none of them were particularly worth remembering. The Super NES, on the other hand, lacked a light gun until 1992, when someone at Nintendo decided that the best way to ramp things up was to swap out the simple Zapper for a straight-up bazooka. It had, however, served as the stepping stone to the Switch, a console that would take all of the Wii U's innovations and do them a whole lot better. By the end of its four-year lifespan, the Wii U sold only 13,000,000 units, a fraction of the Wii's success. The Wii U was completely outmatched by its competitors from Sony and Microsoft, and its handful of great titles couldn't compete with the extensive lineups that were available on other platforms. 3 levels, has a claim on being one of the best games of all time.Īt the end of the day, though, it wasn't enough. It even wound up having a library that included some great titles, from the usual Zeldas and Marios to action games like Bayonetta to the incredibly innovative Super Mario Maker - which, by virtue of giving players a theoretically infinite number of new Super Mario Bros.
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To its credit, the Wii U was an interesting console, mixing things up with a controller that served as both a secondary display and a touchscreen, potentially bringing the different types of controls gamers had seen on the DS to a full console. The end result was a console that was all the fun of staring at a traffic light with the added thrills of back pain. Instead, Yokoi went with laser red, citing the fact that it was easier to see, which is why it's used for traffic lights. Not only did the Virtual Boy require you to sit uncomfortably at a table and lean into what was essentially a next-generation View-Master, the limitations of technology meant that a color display was too blurry to work. Unfortunately, the hardware didn't live up to the hype. Nintendo made a huge PR push, previewing the console in The New York Times and partnering with Blockbuster Video for demo sets and low-cost rentals that were meant to excite public about a whole new world of gaming possibilities. The basic idea of the new console was to give gamers a "3D" experience by having them shove their faces into a headset that projected visuals into each eyepiece to give the illusion of depth.
In 1994, though, Nintendo set their sights on the hot new world of virtual reality, and wound up putting the worst possible exclamation point on Yokoi's genuinely incredible career with the company.