A player looking to power through Goombas with fireballs or hammers might not be interested in a raccoon feather. These quirky suits drastically change Mario’s look and allow for further variety in gameplay, while also allowing the game’s designer to show off some of their odder designs. There’s the Raccoon Suit of the cover, which gives Mario flying powers, a Frog Suit that lets him move quicker through water but slower on land, a hammer-throwing Hammer Suit, and the Tanooki Suit, which offers the same flying powers as the flying suit with an additional turn-to-stone feature that allows Mario to resist fireballs. NintendoĪs for Mario, he’s given a wide variety of new powers in SMB3, which take the form of various costumes. Mario looking stylish in all of his suits. The game’s music, created solely by Koji Kondo, enhances the atmosphere of every moment, from the delightful fanfare of a completed level to the peppy sounds of Grass Land to the dark and almost militaristic sounds of World Eight. From the game’s theatrical opening to the set pieces that look bolted on to the backgrounds, there’s a sense that each stage is a play and the player is the lead actor. There’s the pressure Nintendo was facing by Sega’s announced 16-bit system to game shortages caused by worldwide chip demands.īut from a development perspective, making the game was an intensive process completed by a team operating at the top of their game. The history of SMB3 is well-documented, and it’s worth checking out an in-depth overview like Gaming Historian’s for all the details. The 11-person development team behind SMB3, led by Miyamoto, Nakago, and co-director Takashi Tezuka, painstakingly sketched out each level of the game by hand. Other games filled in spaces where Mario came up short, like in terms of story. Metroid’s developers made their main character, Samus, purposefully different from the plumber in the Mushroom Kingdom. With its opening level, World 1-1, famous for easing a player into its world, SMB3 quickly caught on with people who had never picked up a controller before.īy the time the third game began development, Mario was becoming a centrifugal force in gaming, something other properties responded to. It introduced them to not only each other but also the possibilities of the medium. SMB3 director Shigeru Miyamoto and programmer Toshihiko Nakago worked together on a side-scrolling racing game called Excitebike. had released in America and created a fervor for side-scrolling games. Five years earlier, the original Super Mario Bros. That variety comes in terms of pacing as well: Sometimes the game constantly pulls its player between patient pausing and moving at breakneck speeds.īy 1990, when SMB3 was released in North America, Mario had already become a household name. Cannonball airships, hammer-throwing turtles, shy Boos, and even the Sun itself comes down to wreak havoc on poor Mario.
The game is bursting with variety in its eight worlds, constantly offering something new. Some levels in SMB3 are against solo bosses, and others feel like puzzles laid out across a beautiful background.
This title screen is burned into our memories.
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