If in June of 1975 is said that shark had invented the blockbuster summer (260 million of fundraising with only 8 million of budget, the braguetazo of the century), the phenomenon film and commercial to which is goes in Bermuda and flip flops, Super Mario Bros. 3 made it own by the releases of video games.
These queues in front of the malls before publishing a triple play to are now something relatively common that started the fourth game of Mario with a strategy of launching at full maturity of the NES that could catalog of cyclopean, gigantic, monumental. In North America the TV spot for the game touched the religious fanaticism, with hundreds of people shouting “Mario!” to the sky, as encouraging a second coming of Christ with mustache and raccoon tail, and in 1989 was premiered in cinemas which is considered a work of cult: The Wizard had the presence of Super Mario Bros. 3 (as well as the infamous PowerGlove and other NES games) to levels that classified the film as the concealed advertisement of longer Nintendo’s history.
Promotional display was gigantic, but the greatest virtue of Nintendo in those days was cunning, and showed it using little rigor of that time distribution systems in their favor. As they explained in USGamer, at the end of the 1980s video games belonged squarely to the toys category, so the release dates were not marked to fire in the calendars of the shops and the Games came when came to the carrier well. At that point, buy a cartridge of Super Marios Bros. 3 became an adventure nothing simple for hundreds of thousands of children and their suffering parents. A kind of circumstantial gamification which seemed to give one even greater value of which had a game that fell from heaven in the Middle nintendera fever.
That publicity glare as the dominant Nintendo and that sense of the show also had its reflection in the game itself. The first image of Super Mario Bros. 3 is a backdrop red hoisting is after which appear Mario and Luigi for make a kind of choreographed jump comic and the title is takes down facing us. The end of levels is a sort of discolored and dark area as the limit of a decorated. Blocks of colors were screwed into a Fund and projected his own shadow and up to some very high platforms seemed to be hanging by two metal arms of a casting off-camera. The signs were evident, but it was not until the summer of 2015 (nothing less than 27 convicted five after the Japanese release) which Shigeru Miyamoto finally confirmed the theory in a session of questions and answers for Nintendo: Super Mario Bros. 3 was actually a play, a representation, an elaborate deception.
The story behind that wonderful Assembly placed us an indeterminate number of years after the first Super Marios Bros., or that emerges from the fact that Bowser now was father of seven sons. So hurry and such profusion in evil reptilian reproductive momentum had its justification in which the seven Koopa Kids were seven lieutenants from his renewed army to carry out his master plan of invading the Mushroom Kingdom and turning the Kings into animals using a spell. Between the subject of seven children and the use of black magic we could be talking about first foray video game in the imagery of Satanism and witchcraft, but caution, we are left with the friendly vision of the lore.
But where Super Mario Bros. 3 we fell in love with many went on the way in which knew how to not spoil an original formula (of the first Super Mario) so perfect that today it is still the great unchallenged benchmark for their gender and the measure of all things, but simply expand it in all directions. Scenarios larger, with more possibilities for exploration and the introduction of a multitude of new items like sheet (which gave us the attack with raccoon tail and the ability to fly), the guise of frog to facilitate water phases, music box for sleep to enemies or crazy whistle carrying us to the world 9 , a kind of secret hub from which we could go to any other world through the pipes.
And that was another groundbreaking innovation that amplified various units of measure the complexity of Super Mario: the existence of worlds composed of levels which are linked by roads, some blocked by rocks that we could with another item crumbling as it was the hammer (perhaps a nod to Jumpman, sort of prototype of Mario who climbed scaffolding in Donkey Kong), the creation of an inventory of cards that gave him a small strategic touch enabling us to decide when to use some of the items collected at the end of each phase. All additives meant a positive contribution, everything worked perfectly because the original essence of the work of art that was Super Mario Bros. His virtue was the exhaustive decorum of a tremendously calculated growth.
Perhaps Mario never was in danger of death when he fell into the void (possibly one of those trap doors with mattress) in that performance that we were spectators, but we were witnessing, without knowing it, to the prettiest lie of our short lives.
Taking advantage of the launch of Mini NES, we reviewed their thirty games giving strokes of his developments, their impact and what we can learn from them today. A new article every day, from Monday to Sunday.