We were discussing whether there was any way to see farther ahead. Kondo: I didn't have one either. But why bother with some newfangled imitation when we can get the real thing? Tezuka: We made Super Mario Bros. Miyamoto: We had what we called the Map Room, a long, narrow meeting room where the programmers would line up, look at sheets of paper, and program map data every day. So I told him that development would be difficult. Miyamoto: So I hope players will save all they want to relieve the stress they felt before. Kondo-san, that game was also your debut work, wasn't it? This system was sold only in Japan.
I will be talking with Shigeru Miyamoto, who I also interviewed about Donkey Kong, as well as designer Takashi Tezuka and sound designer Koji Kondo. Miyamoto: Toward the end, we made it engaging in human wave tactics with help from a lot of people. And then there's Frog Mario… And Mario in Goomba's Shoe. From the release of the original Famicom until the release of this game—which would go on to become a worldwide hit—it took two years. The topic this time is Super Mario Bros. With a diagonal view from slightly overhead, you lost your sense of distance to the ground. Tezuka: Not a bit—a lot! Kondo: So I made two ground themes.
Kondo: …But I was alone on sound. Jumping on enough enemies in succession or kicking a shell into enough enemies in succession combos results in double points earned with each enemy killed, eventually earning Mario a 1-up, an extra life and another chance to pass the level. And then we decided that you'll lose a turn when the smaller Mario runs into an enemy, when big Mario runs into an enemy, he would just get smaller. Especially since it took so long to make them! How many people made the original Super Mario Bros. Tezuka-san and Nakago-san 5 and I were having a meeting, and we had the length of all the courses drawn up on a whiteboard. We had built up a lot of know-how since the release of the console, and the time had come when that would be possible.
His eye was now one dot away from his cap, so he looked cuter. Some enemies, though, such as Spinies, can be killed only by fireballs or shell impact; stomping them will hurt Mario. Tezuka: Well, we wanted to put in a lot of stuff. Tezuka-san, did you feel pressure as the director of Super Mario Bros. That's why you chose a raccoon? At that time, the Famicom was already on sale.
Tezuka: Yes, about that many. You originally gave him a tail so he could blow away enemies rather than fly. Miyamoto: Starting with the small Mario would make players happier when Mario got big later, and it would also give a better impression to players. So the development period was a bit long. A tail seems a bit forced, so I really worried over that.
So that's why you kept attempting new things like trying a bird's-eye view and outlining the characters in black. Kondo: When I made the original Super Mario Bros. In Devil World, players could control a player-character twice as big as in games before it, and Excitebike had a scrolling screen and warping. Kondo: I liked how you could play arcade games at home. I'm Akinori Sao, a writer in Kyoto.
Make your way through water and quicksand. So we ended up making the player character larger, and creating long courses that scroll. Miyamoto: He said he wanted to look from a little above. For example, the black-and-white checkered floor. Instead, I just played the game and made music that went along with it. Miyamoto: So Raccoon Mario was there from relatively early on.
Go back to that last screen and get a mushroom! We could now use sounds like percussion and timpani, so the music became much richer compared to the original Super Mario Bros. Tezuka: He said he wanted to make gameplay in which a large player-character would run and jump around fairly large courses. And just before completion, I had these two listen to them and asked which we should use. And all of that accrued technology was at work in the development of Super Mario Bros. I kept wondering if Mario and a raccoon was the right match.
In particular, we put a lot of courses in Super Mario Bros. Even people who weren't originally in the gaming industry, like Shigesato Itoi 8, began making video games. Miyamoto: So it took about two years. Mario was big, so you couldn't see very far? We wanted to pack various technologies into one Famicom cartridge game, like a puzzle. Quite a long time ago, a manga magazine had stories about the development of Super Mario Bros. And not to mention the awesome powerups that are included in the game. What was your impression of the Famicom back then? Everyone: laughs Kondo-san, did it go smoothly for you working on the music all alone? To Tezuka-san We decided that quickly, right? Miyamoto: We began after Super Mario Bros.