How a Wario World sequel should be done

RevampedSpider

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Sure, your money could get collected after you beat a level, like in basically every Wario Land.
But then you'd need a purpose for the money in your total. It could give you a better ending like in WL1 or let you buy things like in Wario Land 4 or Shake it.
If you can't spend it on anything or save it FOR anything, what's the point?
Exactly, it could be used to unlock secret levels that help you get a better ending because they have treasure in them.
 

tahutoa

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I wrote up something for a Developing Your Artistry assignment that's relevant to this thread, about a possible interdisciplinary artwork involving music and another art form.

I would like to create a sequel to the GameCube game Wario World, one that involves music being deeply intertwined with the core mechanics of the game. Wario happens upon a vintage opera house, and the wooden platform has this stone face with a large Ruby in its mouth. Wario removes it and returns home. After getting settled in his throne, he halfway expects the Ruby to turn his world upside down like the Black Jewel before it. Surprisingly, however, it is the set of Classical instruments that went unnoticed propped up in their stands, back at the opera house, that act up. Wario finds himself in a new world, where every stage's composition is very wild and varied in and of themselves.

One stage would feature gigantic trees with outcroppings made in the style of Greek architecture, connected by cable cars that travel on impossibly thick jungle vines, featuring Ethnic tribal music played on replica Greek instruments such as that double-reeded woodwind they had. Another sees Wario exploring a busy "New York meets Vegas" nightscape, with neon lights, tall, fabulous hotels, fountains that have those little lights at the bottom of the jet stream that change the water's color, with a Louis Armstrong-styled soundtrack. A third stage could feature a humid, underground cave chamber made of a blue Lapis-like rock, lit by torches whose light is broadcast all about by emerald-cut rubies, featuring a deep black pit to nowhere, a huge underground lake beyond the player's reach, many, many feet below, with a large, barren island in the center of it. It's the sort of environment that you'd expect to be really cold, but exposed rocky veins that connect the ground with the walls have steam coming out of them, and it's made clear in different parts throughout the stage that volcanic activity is present here-- perhaps the lake is actually a caldera? An atmospheric, moody tune: pads, subtle strings, soothing, chorused sine waves, etc., but with an upbeat drum part would be heard, representing the contrast between this vast cavern and the high-octane action Wario World is known for.

One of the game's most important interactive aspects would see the soundtrack work in a fashion that is very similar to 2016's DOOM, how the music itself seems to be following along what the player is doing, as if it had been made to play over captured footage of the player's exploits after the fact, despite the action taking place in real time. Brass hits for particularly hard-hitting combos, sweeping crescendos for when the player finally stops spinning the enemy around and sends it flying, accentuated contrabass for when Wario does the Corkscrew Conk, leaving the ground to somersault up into the air-- a second accentuation, perhaps a quick I-III progression, if the player immediately repeats the process after coming back down the first time.
When the player is standing still, the song would still be playing, but the instruments wouldn't be as involved as when the player's moving, and especially not as involved as when the player is in the middle of a fight. Granted, each of these three levels of intricacy wouldn't be that far apart, but for people who knew music or were listening for it, it'd be relatively obvious-- in other words, enough to be noticeable but not enough to be intrusive.
The punctuations would have a much larger focus, anyway-- Wario getting hurt, Wario narrowly missing a pitfall, Wario punching open a treasure chest, and especially when he's laying the smackdown. The bassier instruments would get slight boosts every time Wario lands a hit, and some of the treble too when he does some real damage. Tinnier instruments would flare up when the tiny mooks make a swing at you, slightly fuller flares for the bigger mooks, sweeps when the Cractyls try to swoop down and grab at you, and so on.
 

Just a Wario Fan

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I wrote up something for a Developing Your Artistry assignment that's relevant to this thread, about a possible interdisciplinary artwork involving music and another art form.

I would like to create a sequel to the GameCube game Wario World, one that involves music being deeply intertwined with the core mechanics of the game. Wario happens upon a vintage opera house, and the wooden platform has this stone face with a large Ruby in its mouth. Wario removes it and returns home. After getting settled in his throne, he halfway expects the Ruby to turn his world upside down like the Black Jewel before it. Surprisingly, however, it is the set of Classical instruments that went unnoticed propped up in their stands, back at the opera house, that act up. Wario finds himself in a new world, where every stage's composition is very wild and varied in and of themselves.

One stage would feature gigantic trees with outcroppings made in the style of Greek architecture, connected by cable cars that travel on impossibly thick jungle vines, featuring Ethnic tribal music played on replica Greek instruments such as that double-reeded woodwind they had. Another sees Wario exploring a busy "New York meets Vegas" nightscape, with neon lights, tall, fabulous hotels, fountains that have those little lights at the bottom of the jet stream that change the water's color, with a Louis Armstrong-styled soundtrack. A third stage could feature a humid, underground cave chamber made of a blue Lapis-like rock, lit by torches whose light is broadcast all about by emerald-cut rubies, featuring a deep black pit to nowhere, a huge underground lake beyond the player's reach, many, many feet below, with a large, barren island in the center of it. It's the sort of environment that you'd expect to be really cold, but exposed rocky veins that connect the ground with the walls have steam coming out of them, and it's made clear in different parts throughout the stage that volcanic activity is present here-- perhaps the lake is actually a caldera? An atmospheric, moody tune: pads, subtle strings, soothing, chorused sine waves, etc., but with an upbeat drum part would be heard, representing the contrast between this vast cavern and the high-octane action Wario World is known for.

One of the game's most important interactive aspects would see the soundtrack work in a fashion that is very similar to 2016's DOOM, how the music itself seems to be following along what the player is doing, as if it had been made to play over captured footage of the player's exploits after the fact, despite the action taking place in real time. Brass hits for particularly hard-hitting combos, sweeping crescendos for when the player finally stops spinning the enemy around and sends it flying, accentuated contrabass for when Wario does the Corkscrew Conk, leaving the ground to somersault up into the air-- a second accentuation, perhaps a quick I-III progression, if the player immediately repeats the process after coming back down the first time.
When the player is standing still, the song would still be playing, but the instruments wouldn't be as involved as when the player's moving, and especially not as involved as when the player is in the middle of a fight. Granted, each of these three levels of intricacy wouldn't be that far apart, but for people who knew music or were listening for it, it'd be relatively obvious-- in other words, enough to be noticeable but not enough to be intrusive.
The punctuations would have a much larger focus, anyway-- Wario getting hurt, Wario narrowly missing a pitfall, Wario punching open a treasure chest, and especially when he's laying the smackdown. The bassier instruments would get slight boosts every time Wario lands a hit, and some of the treble too when he does some real damage. Tinnier instruments would flare up when the tiny mooks make a swing at you, slightly fuller flares for the bigger mooks, sweeps when the Cractyls try to swoop down and grab at you, and so on.
That's one hell of a text, but your ideas are outstanding.
 

CM30

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So basically you want Shake It's Glittertown/Neon City as a Wario World 2 stage? Seems neat.

Still, when he means Greedville, he means this:


Sadly the site's not really up any more, though if anyone has a backup, we might be able to host it on Wario Forums instead (and buy the Greedville domain at some point in the future).
 

tahutoa

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So basically you want Shake It's Glittertown/Neon City as a Wario World 2 stage? Seems neat.
ayyy, Neon City, got it in one
Still, when he means Greedville, he means this:


Sadly the site's not really up any more, though if anyone has a backup, we might be able to host it on Wario Forums instead (and buy the Greedville domain at some point in the future).
awww, I was hoping for scrapped beta assets. But yeah, gaudy Flash animation graphics aside, that's pretty accurate to what I had in mind, I think.
In practice it'd be reminiscent of the Wario Circus, how Wario actually has nothing to do with it yet his name is on all the posters
 
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