It boasts a catalogue of games that is hard to argue against, they still look great after al these years, and Nintendo didn't ruin everything with loads of unecessary add-ons. Indeed, when the company decided that SNES games needed a bit more oomph, they put extra hardware inside the cartridges.
It's not just about the games though. Part of the reason I still love the SNES is because of the SNES itself; it's the most aesthetically-pleasing console ever. It felt nice to hold, to touch, and to look at. You could take the cartridges to bed with you without worrying you'd slice your eyelids open in the night.
Sure, living in the UK meant that the games weren't as fast, and they had black borders, but if we're talking the cosmetic appeal of the host hardware... we won that battle hands-down.
And here's why.
What's more, it felt solid, expensive... a prestige system, in comparison to Sega's Mega Drive/Genesis, which felt hollow and cheap, and smelled faintly of urine, probably.
For me, though, the thing that my Super NES had going for it the most was that it was friendly and approachable. There was a confidence about it; this thing knew it was to be played with, and it wasn't self-consciously trying to hide among any other consumer electronics you might've owned.
Not everyone agreed with this assessment, however. Least of all Nintendo of America.
One Lance Barr, who'd redesigned the Famicon into the boxy, unappealing, NES - a design meant to evoke a "sleek stereo system", but which ended up looking more like a recycling bin - was given the task of reimagining the hardware for the US market. He had but one design brief: make sure it doesn't look like a toy.
Because, heaven forbid, that a toy looks like a toy.
Barr went for an angular, austere, design, with a rounded cartridge slot - an attempt to prevent users placing drinks atop it (something which, apparently, was an issue with the NES).
In addition, the primary colours were replaced with mauve shades, which made the joypad buttons look like Parma Violets. Yes, the US SNES had the same great catalogue of games, and the same near-perfect joypad, but it had the misfortune of evoking a 16 year-old boyband member trying to discuss the socio-political consequences of Brexit.
Barr - who still works at Nintendo, and had a hand in the Wiimote, among other things - remains unapologetic regarding his monstrous carbuncle. He has defended the unlovely redesign over the years, dismissing the original as looking like "a bag of bread".
To be fair to him, not all of Barr's changes were aesthetic, however. Nintendo intended the SNES to be a modular system, and NoA felt that the rounded Japanese/European design would squat uncomfortably atop any future peripherals.
Quite why Barr chose to make the redesign closer in spirit to the Japanese original is unknown, though we can speculate that, on some unconscious level, he was aware he'd done a big, bad, mess-up.
However, even the Japanese version of the SNES could've gone in a different, less pleasant, direction...
Indeed, beyond the purple trimmings, they were practically unrecognisable from the end product.
Yes, it's fair to say that Japanese SNES got the best of both worlds, given the choice between a barely-noticeable reduction in speed and a couple of black bars on screen, and a console that looked like the pubescent ideal of "grown-up", we undoubtedly had it at least second best.