Deep down, I'm hoping those who aren't enjoying the game are just blasting through it without really noticing what I'm personally most interested in. It's foolish, but I am still holding on to the chance that the level designs shine brightest when trying to get as many coins as possible. Then again, NSMB2 may truly just be "bleh".
SMB3 is a little harder than SMW, but both games are relatively easy and simple, all things considered--it's the way you can interact with everything that makes them the most fun to me. It doesn't matter if I've beaten the levels over and over and have them memorized because the act of playing
in them is where I derive my enjoyment. There are always opportunities to try things you've never tried before, goals to make the games more exciting for yourself due to a wealth of mechanics at your disposal (throwing, enemy head bop chaining, spin jumping, cape floating, multiple paths, item strategies, etc.). The worst thing a Mario game could do is snuff out that kind of nonlinearity with heavy-handed, suffocating design. It's one of the reasons why I still value Mario platformers over something like Super Meat Boy and why I think the introduction of those cannon dash stages in NSMB2 is kind of missing the point. The coin stuff, however, could be a way to recreate that sort of personal challenge if done correctly and is probably the reason why I'm actually bothering with NSMB2 in the first place.
Actually, now that I think about it, that "playful nonlinearity" is way more crucial than I thought. People love watching
"green demon" runs in SM64 or seeing people like
Siglemic bound off every surface like some acrobat. Even
this warpless SMW TAS lacks the coldness of someone using tools to push a game to its limit. SMB3's greatness stems from its design both in and out of stages. And the original SMB has been the foundation for incredibly subversive hacks like
しょぼんのアクション (that Cat game) which is the definition of linear yet still manages to be a hilarious conversation between developer and player rather than simply a series of rigid levels to overcome.
Music is incredibly important for a platformer, I feel, so it's a shame they keep dropping the ball with this series.
A lot of people don't notice how important it is. And not only for platformers, but for any game built to be revisited over and over. The slightest annoyance can be magnified by successive playthroughs, so even if music is technically a bit more auxiliary than obnoxious game mechanics or stages, it's still vital to get right.
When music is great, a good game becomes that much better. For example, while I think it's a superb platformer on its own, I'm sure a lot of my love for DKC2 also stems from its beautifully moody tunes.