Nintendo on Mario World / Yoshi’s Island – Yoshi’s creation and having him in a starring role, visual style, more
Super Donkey Kong Shock!
Nogami-san, it’s time to bring you into the conversation! (laughs)
Nogami: Okay! (laughs)
When you entered the company, what was the state of the development of Super Mario World 2: Yoshi’s Island?
Nogami: I joined the company about one and a half years before release, so it had already been decided that Yoshi would be the main character.
Was he already doing the Flutter Jump?
Nogami: I remember Miyamoto making precise adjustments to the Flutter Jump after I entered the company, so I must have joined about that time.
As the new guy, how did you become involved?
Nogami: I started as a designer, but the concept of making it with graphics in a hand-drawn style had already been decided on, so I began by trying to figure out how to do that.
Hino: We had decided on a hand-drawn approach before Nogami joined, but we hadn’t yet determined a direction for the exact style. Soon after joining, Nogami showed us something in a marker style.
Nogami: First, I used markers to draw a background with something like a pointed Mount Fuji and scanned it. Then I spent about two weeks in trial and error figuring out how to use it in the game.
Hino: When we saw that, we decided that was the direction to go. That was a turning point for the visual style of Super Mario World 2: Yoshi’s Island.
Why did you decide on a hand-drawn style?
Tezuka: Immediately after Nogami entered the company, Donkey Kong Country [13] was released.
Hino: The company that developed that game was Rare [14] in Britain, and it made an impression within Nintendo. The graphics were such as we had never seen for Super NES.
13. Donkey Kong Country : A platform game included in Super NES Classic Edition. Originally released in November 1994.
14. Rare: A British video game developer that has, in addition to Donkey Kong Country, developed such games as GoldenEye 007 and Banjo-Kazooie for the Nintendo 64 system.
Tezuka: Some within the company were wondering if we could do visuals like the ones in Donkey Kong Country, but…
Hino: But development of Super Mario World 2: Yoshi’s Island had already progressed past the point where we could adopt that style of graphics.
Three Designers on Their Own
In other words, it was too late to turn back.
Hino: Right. So we decided to take up the challenge with visuals that were the exact opposite of the style in Donkey Kong Country.
And that meant visuals that looked hand-drawn.
Hino: Yeah. And instead of doing it halfway, we wanted to fight back by thoroughly pursuing a hand-drawn style. But then something horrible happened.
Something horrible?
Hino: Nintendo 64 was on standby for release the next year, so our director, Tezuka, and Hideki Konno [15] began devoting their attention to Super Mario 64 and so forth.
15. Hideki Konno: In addition to primarily being involved with development of the Super Mario Kart series, this developer was map director of Super Mario World. He participated in the interview in this series that covered Super Mario Kart.
That’s quite a problem! So who was left on the team?
Hino: We could still consult them while they were off supporting other projects, but basically Nogami and I and one other designer forged on – just the three of us.
Huh?! Only three of you were left?
Hino: We asked SRD [16] to do the programming, and they had a background with the series, so we could leave it to them without worrying. But for a time, we three designers did planning while also doing the actual work on the project.
16. SRD Co., Ltd.: A company established in 1979 that contracts to develop video game software programs and develops and sells CAD packages. Its head office is in Kyoto and its Kyoto office is inside the development wing of the Nintendo headquarters.
Nogami-san, didn’t you think that was awful so soon after entering the company?
Nogami: No. I was able to work on a lot of things, so it was fun.
You saw it as a good thing?
Nogami: Yes. I received all kinds of opportunities. I rendered backgrounds, thought up enemies, and did some of the art myself.
Hino: Including some silly enemies! (laughs)
Nogami: Like goonies! Most of the silly ones were mine. (laughs) At the end, I got to handle a boss character, which thrilled me.
Hino: By the time Tezuka and Konno skipped out, the framework of the game was in place, but we still had to produce a lot of game components.
Nogami: And we sure made a lot! Each day, I would illustrate a character in the morning, put in an order to the programmer at noon, check it at night, and then give the okay.
Hino: There was also a time when each day we would brainstorm ideas. Partway through development, we showed it to those involved with sales and distribution to get some feedback. It got a favorable evaluation, and we were able to get the other staff members to come back! (laughs)
It got a good review, so everyone decided to finish it up properly?
Nogami: That’s right. At that point, it had filled in pretty well, but it didn’t have any balance game-wise. Thus, in order to polish it up as a product, help from Tezuka, Konno and Miyamoto was absolutely necessary.
Yoshi Sticks Out His Tongue in Surprise?
Now for my final question. If there is anything about Super Mario World and Super Mario World 2: Yoshi’s Island that you would like players to pay attention to on Super NES Classic Edition, please tell me.
Hino: As far as visuals go, Super Mario World is the first time Mario’s eyes have a white part.
Oh, that’s true!
Hino: Miyamoto was intent on that and was very strict in checking it! (laughs)
(laughs)
Hino: Nonetheless, I personally thought his black eyes in Super Mario Bros. 3 had character, so I left Small Mario’s eyes black.
So you want people to pay attention to Mario’s eyes. (laughs) Anything else?
Hino: During development of Super Mario Maker, we began to wonder why Mario’s hand moves when Yoshi sticks out his tongue in Super Mario World. Many people thought Mario was pointing forward and saying, “Go!” and that’s why Yoshi sticks out his tongue.
But that isn’t so?
Hino: Actually, we did the animation with the idea that Mario is hitting Yoshi on the head and Yoshi is sticking out his tongue in surprise.
Oh, really? (laughs)
Hino: There’s even a bonk! sound. (laughs) But we thought people would feel sorry for Yoshi, so we decided to pass it off as Mario saying, “Go!” (laughs)
(laughs)
Nogami: I’d also like people to pay attention to the sound. Koji Kondo [17] was in charge of the sound for both of these games. When we were making Super Mario World 2: Yoshi’s Island, we asked him to do the sound for bosses and the first thing he did was a fairly laidback tune! Hino and I spoke with him about it, and the result was some really cool music, which really impressed me. I never expected less! (laughs)
17. Koji Kondo: This developer has been involved with the sound for many games such as games in the Super Mario and Legend of Zelda series. He participated in the interview covering Super Mario Bros. and Super Mario Bros. 3 for NES Classic Edition.
Hino: When it comes to sound, you usually can’t compose the music until the game has come together to a certain extent, but we were behind and I think Kondo was really chomping at the bit. But the rush at the end was insane, so I was quite moved when the ending background music came in.
Nogami: It truly was moving.
Hino: And…is it okay if I say this? We did something wrong in Super Mario World.
Which is?
Hino: When we were making Super Mario Maker, we noticed that Bowser had the wrong color! His hide is green when it should have been orange!
In other words, you noticed that mistake after 25 years had passed?! (laughs)
Hino: That’s right! (laughs) He’s a central character, so I feel bad for him…
People who read this can check Bowser’s color on Super NES Classic Edition! (laughs)
Tezuka: We often get out Super NES cartridges to check things.
A cartridge for each game.
Tezuka: Yes. But with Super NES Classic Edition… (laughs)
One console is enough. (laughs)
Tezuka: And that’s a big help! (laughs)
