It is really interesting to see how the decade just past for Nintendo is divided into two parts net, separate from the console launch of the hybrid Switch. It is not so simple, though: the Wii U, in spite of his bankruptcy, he represented a chance for Nintendo to make the point, riassestarsi and change course.
He also offered the possibility to experiment and to prepare a new generation of talent. Probably the Switch would not have enjoyed the same level of success if it had not been launched during one of the darkest times of Nintendo.
All of this has made Splatoon a welcome explosion of color. A new IP from Nintendo is a unique event (the last that come to mind are Tomodachi Life and Rhythm Paradise, but in reality you have to dig a long way back up to the Pikmin to find a new IP with the same magnitude), and one multiplayer shooter was definitely a product that seemed very far away from the zone of comfort of the company.
But the approach to the fragfest adopted by Nintendo has been perfectly nintendoso, and Splatoon has a gameplay based entirely on headshot, since you have to cover the map with ink sticky.
It is a perversion of all the canons of the shooter? Not exactly, seen that, seen that these focus strongly on the employment of the spaces, while Splatoon is a reinterpretation of the formula reconstructed according to the same image of Nintendo, where the systems are mixed playfully with one another in a title that has arrived in a form already very solid.
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“A large part of that improvement took place during this generation.”
The first Splatoon was so well done that its sequel really had little to improve (even if Splatoon 2 has added a much in demand single-player mode which has virtually reached perfection with the additional content Octo Expansion).
In the four years after the launch, Splatoon has become a status symbol: in Japan, the inkling seem to be famous just as much as Mario and company, and is not a temporary phenomenon. The design of the game is cheerful and joyful, perhaps like nothing else introduced by Nintendo or anyone else in the last ten years.
And Splatoon has helped me to make it again trendy Nintendo, and the older generation of designers has given the baton to a new group of young people. One of the director of the first game, Tsubasa Sakaguchi, it seems, is the perfect example of the ingenuity of this new generation (in fact, helped Nintendo Labo, one of the most innovative proposals of recent times), while Hisashi Nogami has relished his role as a public figure for the series.
You might consider Breath of the Wild as the crowning achievement in Nintendo for this decade, and there is no doubt that it is his best game. But for that which has obtained, Splatoon is a series equally as important.