A platform game in which you gained the ability to fly made no sense, which is why Nintendo made it. When he found a Super Leaf and donned his raccoon suit, Mario could fly. He slid down slopes like a tobogganing child gained a mad, pirouetting spin jump dressed as a frog to swim underwater leapt into the air and simply refused to come down. Mario exceeded himself for boundless joie-de-vivre. The only option was to add to it to invent more rules to break. Miyamoto, now accompanied by right-hand man Takashi Tezuka, had learned that you couldn't repeat or replace such a rule-breaking game as Super Mario Bros. It was almost tactical, like a board game in which every square was a miniature, animated world.ĭiversification and multiplication were everywhere: more enemy types, more moves, more items, more interactions, more outrageous possibilities, all bouncing off each other. He could gamble for extra power-ups in Toad houses and take them with him. Boss battles aboard flying ships picked themselves up and wandered off, and Mario had to chase after them, back through places he'd already been. 3 showed it to you, on a map screen strewn with alternative routes, bonus stages and wandering hazards. The previous games had always implied a world beyond the linear charge through levels. Miyamoto had learned that you couldn't repeat or replace such a rule-breaking game as Super Mario Bros. Those kids in The Wizard weren't screaming for nothing. Miyamoto's men hadn't yet learned how to follow their own act.
had been so radical, so brilliant that they had failed to succeed it. Both sequels succeeded on their own terms, but Super Mario Bros.
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