I don’t have a problem with this treasure’s core being just a straight path going right while avoiding the quite-treacherous Brrr Bears & their ice shots on slippery platforms that don’t allow too much room to maneuver, specially since they do add the challenge o’ finding the gray key.
That said, I think they could’ve picked a better hiding place for the key. Not only do you have to break thru a wall to reach it, but it’s placed ’tween 2 sides, but only 1 side is breakable, & you’re just s’posed to guess that. E’en mo’ counterintuitive, there’s a grabbable crystal on the unbreakable side, which makes it look like you can pick it up & throw it @ the wall to someone who might go back to this stage & forget that they don’t get the glove till after this treasure. They could’ve a’least integrated the Brrr Bear with the key: ¿why not put a Prince Froggie in front o’ the gray key & have you get hit by the Brrr Bear up there to break thru it. That would be a great way to tutorialize this mechanic & would better mesh with the treasure theme. This is nitpicking, but it in addition to the basic path to the chest does make this treasure feel a bit uninspired — a’least in comparison to a lot o’ the other treasures in this game.
This treasure made the mistake o’ focus primarily on a mechanic — dodging zombies — done in so many other treasures, & done much better in a’least 2 other treasures. While it’s cool to see sneak previews o’ all the chests in this level, — obviously unopenable this early, since you can’t get their keys but the gray 1 — having to go back & forth, crossing zombie-infested platforms & going into rooms to hit a switch, can get ol’, specially if you manage to get snagged by a zombie & have to go thru it all o’er ’gain.
The puzzle in the chest room, where you have to break the floor & knock the stove onto the bottom floor so you can reach the chest, is somewhat new, but doesn’t have much to it, & still feels a bit too similar to the stove puzzles in “A Town in Chaos”.
Wario Land 3 is the point @ which the Wario Land series finally reaches its fullest potential, combining the clever status effect mechanic, where getting hit by certain enemies gives Wario certain effects like floating upward or falling down thin platforms, — & including new ones that are some o’ the best in the series, like turning invisible, turning into a yarn ball, turning into a snowball, or turning into a vampire who can become a bat & fly — which can be positive or negative for the player depending on the context, with a more open, explorative level than the mostly linear levels Wario Land II offered.
Rather than going on a sequence o’ levels with goals with a few secret exits & branching paths as the 2nd game, this game goes all the way with breaking from traditional platformers with a unique goal system: each level has 4 different-colored pairs o’ chests & keys. Collecting a matching key & then chest o’ the same color acts as 1 goal that gives the player a certain treasure that unlocks access to other keys & chests, whether by unlocking new levels, changing certain levels, or giving Wario new abilities. This can lead to multiple ways o’ getting certain treasures, especially in Time Attack challenges, when you have all abilities unlocked: for example, you normally get the red key & chest in “The Peaceful Village” using a snake to hoist you up to the roof; but if you have the winged boot, you can also high jump up the right wall ( which isn’t e’en getting into the collision glitch you can use to clip up that wall near the beginning o’ the game & the other glitches you can use the heavily sequence break this game like Metroid games ).
With this mo’ elaborate gameplay mechanic comes mo’ elaborate levels, with levels that branch out into different sections for the different treasures, not unlike Super Mario 64’s levels. This does lead to some repetition like in Super Mario 64 as you have to traverse the same challenges multiple times, — with some egregious examples we will be looking @ — but this is surprisingly not much mo’ than in the 1st Wario Land or Wario Land II, which, despite being mo’ linear, repeat a lot o’ the same general challenges; & given Wario Land 3’s game design, it’s mo’ understandable here.
I have been very self-deprecating ’bout the embarrassing music I liked as a kid like Papa Roach, Skillet, & Breaking Benjamin, — tho I actually still liked the Breaking Benjamin album we listened to — but here is where I choose my battle & die on my sword: Three Days Grace — a’least the albums when they still had Adam Gontier as their lead singer — still holds up. I’m not going to sit here being all “hurr hurr, this shit was, like, so lame” pretending like this shit doesn’t still slap my ass back to the past to play some video games that suck ass. I’m not going to pretend I don’t cum all o’er myself when I hear Gontier’s grunge-light voice — that perfect balance o’ not too clean, with a li’l gravel, but not too far into the hurdy-gurdy Scott Stapp “singing while choking on a squirrel” style.
I’m also going to make the hot take that their 1st self-titled album was their best, a’least musically — it’s admittedly probably their worst lyrically. No album succeeds @ sounding as gloomy as this while still having ’nough pop sensibilities to actually be an enjoyable, catchy listen; no other album so perfectly evokes that feeling o’ a preteen sitting a dim-lit room on a rainy afternoon thinking dour thoughts for no reason ’cause their mother doesn’t believe in antidepressants or therapy. & since it’s September & autumn is starting to bring its gloomy weather here in the “Great Gray North” that is Seattle, now is the perfect time ( for me a’least: I don’t know what to tell you people near the equator where it’s probably still 30° Celsius ).
1. Burn
& we start with what I consider the best song o’ the album — & this band’s best song entirely. ¡It’s all downhill from here! This album opens with gradual crackling noise till we finally get those down-tuned guitars going in a jumping pattern, followed by thumping high hats like lightning strikes, & then some weird guitar riffs that go “WEAH-WEAH-WEAH-WEAH, WEAH-WEAH-WEAH-WEAH” while Gontier coolly sings the opening lines in his perishing alt-rock voice before bellowing out the chorus. I particularly like how the bridge solos go back to the main strumming, pause for a moment, & then start wilding out the riffs & drums & the different pitches Gontier sings the final word o’ the chorus the other 2 times he sings it.
¿But what o’ this song’s lyrics? ¿What is this song about? Beats me: as a kid I ne’er cared that much ’bout lyrics & would oft make up meanings for songs, e’en when I did know them. I’m pretty sure Arctic Monkeys’ “Crying Lightning” is ’bout a breakup or a toxic relationship, but as far as I’m concerned it’s ’bout lightning.
Let’s see what Genius has to say:
“Burn” is the riotous opening track to Three Days Grace’s eponymous album. Accompanied by clashing cymbals and thrumming bass, Adam Gontier incinerates his enemies.
¡Ha, ha, ha! That’s so cute: “Adam Gontier incinerates his enemies”. See, e’en Genius knows this song is great.
Grade: S
2. Just Like You
Unlike the previous song, I know precisely what this song is ’bout: it’s 1 o’ those cheesy “¡I’M NOT GONNA BE PART O’ YOUR SYSTEM!” songs.
But despite how cliché the lyrics are… the musical elements are just so good: that intro with those memorably downtuned riffs, the way Gontier shouts the verse lyrics, & then quietly sings the prechorus, only to build back to shouting for the chorus. The singing just has so many hooks & li’l twists that make it catchy. There’s a reason they made this a single.
The music video fits the song’s meaning, — spoiler: it’s the only 1 that does — & is the typical spooky sterile-white-clean authoritarian dystopian environment with e’eryone wearing masks; but I can’t not mention my amusement @ the fact that most o’ said masks look a bit like Trump, adding a whole new unintended interpretation decades later.
Grade: A
3. I Hate Everything About You
( Sigh ). Look, I know how cringe these lyrics are, — tho I don’t know if there were many songs with this love/hate topic when this came out, tho there were definitely many that came afterward — but musically this song is just perfect, e’ery part: the twanging opening acoustic notes, followed by drums, & then the best part, the quaking basslines while Gontier sings in that quivering voice that lingers on the final syllable, that feedback-filled guitar @ the end o’ the verses, the pause after the verse followed by rolling drums & shouted chorus, & then that chorus followed by the opening notes again but with those high “DUH, DUH, DUH, DUH-DUH-DUH” notes, the bridge, which sounds like a blend o’ the verse & chorus singing style, still quivering, but much louder…
I’m not e’en going to pretend to understand what story the music video’s trying to convey: from the looks o’ it, a bunch o’ zombie-faced teens come together to some neon-lit green valley to watch some dude get cucked while reliving the experience o’ being beaten & yelled @ by the same drunken ol’ man with a mean dog & then smashing picture frames on the ground. ¿Is it the ol’ man they both love & hate? ¿Why? ¿Is he the father to all o’ them? I’m not surprised such an abusive asshole would have such trouble keeping his shriveled dick in his pants to now spawn so many children.
I don’t think a song as simple but relatable as this needed to be given this kind o’ bizarre, abstract high concept; scenes o’ a couple yelling & fighting interspersed with footage o’ the band playing probably would’ve sufficed.
Grade: S
4. Home
This song has some strong elements, like the the guitar notes ending with that lingering echoing strum & the interesting way Gontier chances his voice’s emphasis on the verses. Howe’er, coming after the previous song, which was already ’bout a troubled relationship, this 1 feels a bit redundant & weaker. & while you could argue that all these songs are melodramatic, this 1 sounds especially so, with Gontier yelling ’bout his girlfriend turning off the TV & screaming @ him for no reason like it’s a soap opera. A’least the previous song offered a dilemma with the singer’s love/hate relationship; here the singer presents no positives to his girlfriend or living situation & gives no explanation why he doesn’t just leave. He e’en says, “I’m better off alone”. ¿So why not be alone?
Weirdly, Genius claims this song is ’bout “the heartbreaking effects of substance abuse on a relationship”, but I don’t see that: the only substance “abuse” mentioned is the singer getting stoned @ the beginning o’ verse 2, but that’s to deal with his already deteriorating relationship. Forgive me for not taking serious a dramatic song ’bout a relationship falling apart ’cause the singer kept smoking too much weed & ignoring his girlfriend to laugh @ ol’ The Three Stooges reruns. It would be an interesting twist if the singer, who seems to be presented as the sympathetic party here, is the 1 ruining the relationship: that the girlfriend is turning off the TV & yelling @ him to get up & live his life & that his griping ’bout how he’d be better off alone is his selfish hedonism — but that’s quite a leap to make.
The music video, which seems to tell 2 separate stories, 1 o’ which involves a pale-skinned “English-tittie vampire” smashing shit, including a room full o’ clocks & what looks like an owl cage ( ¡Kendrick promised no OVHOES would be harmed! ¡You lied! ), & a different story where the lead singer yells into a red payphone that is for some reason inside the ramshackle apartment in which they’re performing, adds no extra information regarding this song’s meaning.
Grade: B
5. Scared
This song’s an underrated spooky song with its memorable scare riffs with plenty o’ clashing high hats, Gontier singing the verses in a paranoid voice only to rise into a yell in the prechorus, & the muttering quietly in the bridge.
So this song, with its vague lyrics ’bout being “scared & lonely” & how he “wish you never told” him must be ’bout some deep, pathological fear, an existential dread that —
When the band arrived at one of the recording studios for the album, they were told that the place was haunted by the ghost of a little girl. The band initially dismissed the claims, but after strange occurrences during their time at the studio, the band felt more and more unnerved.
Or it’s ’bout a superstitious fear o’ the ghost o’ a child. ¿What were these “strange occurrences”, anyway? ¿A stuffed animal floating around with nobody holding it?
Anyway, the song still slaps.
Grade: A
6. Let You Down
This song’s all right. I like the rolling drum & bassline opening & the way it shifts thruout the verses. I also like the way Gontier sings in that quiet quivering voice for the 1st verse, but sings in a louder, almost hysterical way for the 2nd verse.
& lyrically, this might be 1 o’ the best songs on this album, with an actually clever pun on “letting one down” — offering to safely let someone down from somewhere dangerous playing off the opposite idea, being unable to support someone by letting them down, which bumped this song’s grade up a rank. The sarcastic way the singer sings it makes it ambiguous whether or not it’s applying this criticism to someone they trust or society in general or if it’s a self-deprecating criticism o’ their own tendency to let others down.
Grade: A
7. Now or Never
This is where the album starts to dip a bit. This isn’t a bad song: the downtuned guitars & Gontier’s singing — especially on the chorus — still sound good. But this is 1 o’ the less memorable songs, is a bit slow & hokey-sounding, & has the cringiest lyrics, with vacuous philosophizing ’bout “what does it all mean” & “¿why isn’t this word turning around?”. I dunno: ¿why should it turn around? ¿Did Lois Lane get crushed to death & does she need Superman to spin the world back in time to reverse it?
Grade: C
8. Born Like This
This song is e’en less memorable than the previous; tho it’s a bit harder & faster, there are no catchy hooks or any notable singing. & the lyrics are just baffling nonsense, especially the prechorus, proclaiming that “someone’s gun is laughing”. ¿OK? ¿Is this song ’bout school shootings? ¿Is this why the singer says in the bridge, “somewhere you’re floating high / you’re not living, we are”? ¿Is he talking ’bout someone who got shot to death? ¿& how does this relate to the following chorus lyrics?
it’s not what i gave to you it’s not what i stole we are born like this
¿Is he saying it’s not the laughing gun that’s the problem, it’s human nature?
Unfortunately, Genius has no annotation for this song, so I’ll probably ne’er know the answer to this mysterious laughing gun.
Grade: C
9. Drown
Good news: we’re back to the top-tier songs. This is 1 o’ the best songs about depression, not due to its lyrics, which are generic drivel ’bout not wanting to be controlled, — tho, to be fair, I would argue that this song’s vague incoherence, babbling ’bout how “it’s hard to fly when you can’t e’en run”, matches how many don’t really have a reason for being depressed or suicidal — but due to the absolutely dour, rainy sound o’ this song, with its sluggish bass notes mixed with soft piercing sirens in the background. The song itself sounds like it’s drowning, especially @ the end where the singer’s quickening whispering mutterings & the music become increasingly muffled.
Grade: S
10. Wake Up
A great drunken apology acoustic emo song — tho not as good as the GOAT o’ such, Blue October’s “Hate Me”. While the music supports the song, the song’s really sold by Gontier’s wavering & off-key singing, which sounds drunk & pathetic.
My 1 quibble with this song is these lines that only stood out to me now, as a much older, mature, & socially-aware adult:
i must be running out of luck ’cause you’re just not drunk enough to fuck
Um, ¿is this singer saying that he can only get sex from the recipient o’ this song ( or can only enjoy it ) when she’s too drunk to give reasoned consent? ¿Is this why she won’t “wake up” & won’t answer your knocking? Whate’er: I’m sure that’s not what the composer implied & I think back then we weren’t so conscious ’bout the iffiness o’ fucking drunk people.
Grade: A
11. Take Me Under
This song’s only problem is that it has a similar theme & sound to “Drown”, — suicidal depression — but isn’t quite as good. Which is not to say it isn’t good: I love those opening matching acoustic & bass notes, then a pause, then louder, rumbling drums & bass while the singer sings, “take me all the way”, in a voice fading as much as the singer seems to want to fade himself. That being said, the very loud chorus & e’en bridge don’t seem to mesh well with the general song’s tone. Contrast “Drown”’s chorus, which was louder than the verses, but didn’t rise to outright shouting.
Grade: B
12. Overrated
Unfortunately, this album ends with the weakest song, with pretentious but vague lyrics ’bout how the youth can’t relate to the system, man, in a voice that’s way too sinisterly cold & dour for such cheesy faux Rage Against the Machine lyrics, followed by shouting how, “¡YOUR SHIT IS OVERRATED!”. ¡Such an edgy radical!
Worse, the music is boring, with basic butt-rock-loud riffs for the opening & chorus. I guess I do kind o’ like the spooky notes under the verses, but e’ery other song on this album does better.
Grade: D
Conclusion
This album still holds up well & I won’t accept anyone who tells me otherwise. The council has made its decree.
Album Grade: A
Bonus
This isn’t part o’ this album @ all, but needs to be seen. The following is Three Days Grace performing a live cover o’ “Lose Yourself” — that’s right: the “Mom’s Spaghetti” Eminem rap song.
