As anyone who has read my reviews knows, I tend to be very sparing when handing out 9/10s or 10/10s. While mainstream outlets tend to hand them out like penny candy when a game is promoted enough, I make games (and films, for that matter) work for those grades. I have it so that when a work earns a passing grade, even if it’s a 7/10, it’s a cause for celebration. With me having awarded no 10/10s in this block of 50 reviews, all we have left to discuss are the ones I awarded a 9/10. These are the games I point towards when talking about the hallmarks of a given era or decade, so if you’ve haven’t played them, check them out right away.
Now that the bad/middling games are out of the way, we can finally start talking about the ones I can actually recommend. This has been a great year for me personally because I managed to write three reviews that were over 10,000 words long. The best part? They’re all of games I like. Whereas before, my longest review was that of The Last of Us, I can now safely say that anyone who believes it’s easier to be negative than positive clearly isn’t trying hard enough.
Hope you all enjoyed Halloween! I have to admit I didn’t do much, but watching these horror films at the last minute was a lot of fun. Too bad I didn’t think to review a survival horror game, huh?
Though somewhat overshadowed by Sega’s Sonic the Hedgehog, a game starring a character more in tune with the zeitgeist of the early nineties, Super Mario World was a success upon its 1990 release. While dismissed as just another Mario game, when enthusiasts began giving it the time of day, they realized it was so much more than that. It and its predecessor, Super Mario Bros. 3, are now considered some of the best games ever made. Owing to its strong launch titles, Super Mario World included, the Super Nintendo Entertainment System (SNES) found itself being able to keep pace with the Sega Mega Drive – or the Genesis as it was known in North America.
While developing Super Mario World, series creator Shigeru Miyamoto introduced a character named Yoshi. He was a dinosaur whom Mario could ride like a horse. Fellow developer Takeshi Tezuka speculated that Mr. Miyamoto’s fondness for country and Western themes played a role in Yoshi’s creation. In fact, Mr. Miyamoto had envisioned Mario with a dinosaur companion as early as when he worked on Super Mario Bros. in the mid-eighties, but the technical limitations of the Famicom made this idea impossible. Almost immediately after his introduction, Yoshi become one of the series’ most popular characters. Over the next few years, Yoshi was prominently featured in various spinoff titles. One such title was Yoshi’s Cookie, a puzzle game that even featured a special mode designed by Tetris creator Alexey Pajitnov. Another was Yoshi’s Safari, a rail shooter that utilized the Super Scope, the successor to the NES Zapper.
As it turned out, Yoshi’s striking popularity extended to his creator as well, for Mr. Miyamoto thought about making him the series’ protagonist. However, he did not particularly care for other games featuring Yoshi’s name, and strove to make something more authentic. He presented his idea to Nintendo’s marketing department. To his surprise, they rejected his proposal. In 1994, Nintendo had published and released Donkey Kong Country, which was developed by the England-based developer Rare. Its pre-rendered graphics allowed it to stand out from the traditional, comparatively simplistic art style associated with the Mario series. Frustrated at the marketing executives, Mr. Miyamoto felt they were more interested in superior hardware than art. He even went as far as denouncing Donkey Kong Country, feeling it proved that “players will put up with mediocre gameplay as long as the art is good.”
As something of an act of rebellion, Mr. Miyamoto took the cartoonish art style for which the Mario franchise was known and escalated it. The result was a hand-drawn, crayon style reminiscent of children’s drawings. To achieve this effect, artists drew graphics by hand, scanned them, and approximated them down to the exact pixel. When he presented this revised art style to the marketing department, they accepted it. The game had actually been in development in various forms for four years, allowing the team to add what he described as “lots of magic tricks”.
This new game was released domestically in Japan in August of 1995 under the name Super Mario: Yoshi’s Island. It was released in the West the following October with the slight name change Super Mario World 2: Yoshi’s Island. Though it wasn’t as financially successful as Super Mario World, Yoshi’s Island gained a dedicated following of its own. It too became one of the most beloved titles on the Super NES. In fact, some people have even gone as far as claiming it to be the superior effort to Super Mario World, citing is unique gameplay, art, and sound design. How does Yoshi’s Island fare in the face of its impressive predecessor?
Nintendo’s Family Computer, or Famicom, proceeded to dominate the console market after its 1983 launch. Sega had entered the market, releasing their own 8-bit console, the Master System, to directly compete with Nintendo, but they failed to even slow them down. This began to change in 1987 when NEC Corporation launched the PC Engine – later dubbed the TurboGrafx-16 internationally. The following year, Sega launched the Mega Drive, the 16-bit successor to their Master System. Though Nintendo’s executives were not in a hurry to design a new console, they reconsidered when they observed their market dominance beginning to slip.
It was up to Masayuki Uemura, the designer of the Famicom, to come up with something even greater. Fortunately, his newest creation, the Super Famicom, was ready to go a mere three years after the launch of the PC Engine. It was an immediate success with Nintendo’s initial shipment of 300,000 units selling out in a matter of hours. In fact, it caused such a social disturbance around shopping centers that the Japanese government stepped in, asking developers to only launch consoles on weekends to avoid any future chaos. A few sources even state that this hot commodity managed to capture the attention of the yakuza, leading Nintendo to ship the consoles at night to avoid any potential interceptions.
Naturally, consoles are nothing without their games, and after the success of Super Mario Bros. 3, Takashi Tezuka and Shigeru Miyamoto were determined to have the console make a good first impression on launch day. Joined by graphics designer Shigefumi Hino, they began work on a new Mario installment. The team consisted of ten people, most of whom had experience working on Super Mario Bros. Though Mr. Tezuka was the director once again, the core team said that Mr. Miyamoto wielded the most authority during the development cycle.
The staff members understandably had their reservations about the new hardware, anticipating they would have difficulties working with it. Mr. Tezuka stated that the software tools had not been fully developed. In other words, much like with Super Mario Bros., they found themselves for want of a style guide. As an experiment, they ported Super Mario Bros. 3 to the Super Famicom. They decided it felt like the same game in spite of its improved colors and sprites. Mr. Miyamoto realized then that their new goal was to use this improved hardware to create something entirely new. The game saw the light of day alongside the Super Famicom itself in November of 1990 under the name Super Mario World: Super Mario Bros. 4.
The Super Famicom was slated for a North American release the following year. Keeping consistent with its predecessor’s name, it would become the Super Nintendo Entertainment System (Super NES or SNES) overseas. Super Mario World, dropping the Super Mario Bros. 4 subtitle, was to be one of the console’s launch titles abroad as well. Though both Super Mario World and the platform on which it was released proved to be a success, Nintendo found themselves facing a particularly fierce competitor. Sega brought the Mega Drive to North America where it was known as the Genesis. One of their games, Sonic the Hedgehog, ended up being their console’s biggest hit. The hip, cool title character was popular with children and teens, playing up to the era’s zeitgeist.
Sega of America didn’t stop at extensively marketing Sonic the Hedgehog. They claimed theirs was the superior console due to it having what they referred to as “blast processing”, and even went as far as outright insulting Nintendo and, by extension, Super Mario World. Thus began one of the fiercest and most famous video game rivalries of its day. As a result of the popularity of Sonic the Hedgehog, Super Mario World was dismissed in many circles as just another Mario game. Meanwhile, with its fast-paced gameplay, Sonic the Hedgehog was the title to own in 1991.
However, as is the case in many stories like this, the all-seeing, all-knowing power of hindsight granted Super Mario World a new lease on life. Though Sonic the Hedgehog is still considered a classic, Super Mario World is the game people would be more likely to find on a given list detailing the greatest of all time. On top of that, Mr. Miyamoto himself considered Super Mario World his personal favorite Mario game. Having a chance to fully establish its legacy, did Super Mario World manage to ultimately triumph over its flashier competition?