Words can't convey the amount of perspective shifts in people when they've come across SMB. It is so integral to development of modern video games we often take it for granted. Before SMB, no game ever allowed you to jump on enemies, reveal secrets and shortcuts, utilise enemies as a tool, even something minor like giving a distinct sprite for screeching, but all of these are important pieces of a design that is perfectly responsive and satiates a need for form.
How could anyone come up with the bright idea of programming all these things?
Mario had the most perfectly fluent air manouveurs where you were always in control. The realistic physics and gravity of Mario were light years ahead than even the most sophisticated sci-fi shooter. The levels varied enviromentally and layout-wise, forcing you to come up with different gameplay styles. You might begin one stage as a sparse platforming segments, only to end up in a cramped underground setting full of threats, or even worse if you get in an underwater level or a looping castle stage! And if you find these too hard, there are always generous work-arounds: You can run past enemies, or use secret paths or warp-zones, or just circumvent your foes with a fire flower and some fireballs.
Even Koji Kondo's music was leagues ahead from anything, having perfect cues that fit the atmosphere of any particular level. SMB is the fine line that seperates modern video games from the casual nature of arcade games, and every platformer, heck, every action game since, would take the levels-and-lives-and-powerups approach from SMB1. It might be slightly questionable if it's a good practice for everyone to copy their core gameplay from a 1985 NES game, but, it's still the biggest form of flattery I have seen dedicated to any single piece of computer media.
(Glitchwave project #013)
How could anyone come up with the bright idea of programming all these things?
Mario had the most perfectly fluent air manouveurs where you were always in control. The realistic physics and gravity of Mario were light years ahead than even the most sophisticated sci-fi shooter. The levels varied enviromentally and layout-wise, forcing you to come up with different gameplay styles. You might begin one stage as a sparse platforming segments, only to end up in a cramped underground setting full of threats, or even worse if you get in an underwater level or a looping castle stage! And if you find these too hard, there are always generous work-arounds: You can run past enemies, or use secret paths or warp-zones, or just circumvent your foes with a fire flower and some fireballs.
Even Koji Kondo's music was leagues ahead from anything, having perfect cues that fit the atmosphere of any particular level. SMB is the fine line that seperates modern video games from the casual nature of arcade games, and every platformer, heck, every action game since, would take the levels-and-lives-and-powerups approach from SMB1. It might be slightly questionable if it's a good practice for everyone to copy their core gameplay from a 1985 NES game, but, it's still the biggest form of flattery I have seen dedicated to any single piece of computer media.
(Glitchwave project #013)