Super mario bros.

The title of this article is ambiguous. For the film of the same name, see Super Mario Bros. (film)

Super mario bros.
Super Mario Bros. Logo
Original title	ス ー パ ー マ リ オ ブ ラ ザ ー ズ
transcription	Sūpā Mario Burazāzu
Studio	Nintendo Research & Development 4 (game design) Systems Research & Development (programming)
Publisher	Nintendo
Senior Developer	Shigeru Miyamoto (Director) Takashi Tezuka (Co-Director) Toshihiko Nakago (Programmer) Kazuaki Morita (Programmer) Yōichi Kotabe (Illustrator) Hiroshi Ikeda (Producer) Hiroshi Yamauchi (Executive Producer)
composer	Kōji Kondō
Erstveröffent- lichung	September 13, 1985 in late 1985 or 1986 June 1986 / September 1987
platform	Famicom , Nintendo Entertainment System
genre	Jump 'n' run
Game mode	Single and two player modes
medium	320 kilobit plug-in module
language	English
Age rating	USK PEGI

Super Mario Bros. ( Jap. スーパーマリオブラザーズ, Supa Mario Burazāzu ) is a Jump 'n' Run - Video Game of the Japanese company Nintendo . In Japan it was released on September 13, 1985 for the Famicom home console . By 1987 the game was also available in the West for the Famicom counterpart Nintendo Entertainment System (NES).

The player takes on the role of the plumber Mario, who has to overcome obstacles and defeat opponents in order to free Princess Toadstool from the clutches of King Koopa. To do this, Mario runs and jumps through the game world, which is shown two-dimensionally in a side view. In contrast to the previous games Mario Bros. ( Arcade , 1983) and Donkey Kong (Arcade, 1981), the game does not take place in a rigid screen area. Instead, the game uses side scrolling .

Super Mario Bros. was created under the direction of Shigeru Miyamoto , creator of Donkey Kong , and Takashi Tezuka . The music for the game was composed by Kōji Kondō . The game was one of the last modular games for the Famicom. It was developed in parallel with The Legend of Zelda ( FDS , 1986) within eight months .

Super Mario Bros. is one of the most influential video games of all time. It has shaped the platforming genre significantly and has served as inspiration for many game developers. At the time of its publication and largely in retrospect, the trade press rated almost all elements of the game positively, in particular the game principle and the design of the game sections. With around 40 million units sold, Super Mario Bros. was the top-selling video game for decades. Its release enabled Nintendo to use the NES to revitalize the North American video game market after a period of economic stagnation. Nintendo has implemented, reissued or re-released the game that founded the successful Super Mario series several times for other consoles.

Game description

Backstory

One day the Mushroom Kingdom was occupied by the Koopa , a tribe of turtles that can use powerful dark magic. Their magic was used to transform all of the kingdom's inhabitants into inanimate objects such as stones, bricks, and even horsehair, thus highlighting the kingdom's fall. Only Princess Peach can undo the spell and bring her people back to life, but she is held captive by Bowser himself. The Italian plumber Mario learns of the plight of the princess and makes his way through 32 levels to overthrow the turtle tribe and save the once peaceful kingdom.

Gameplay

Super Mario Bros. is divided into eight worlds, each of which contains four game sections . Mario (or in the case of a second player, his brother Luigi) must finish the level by jumping over various gaps and avoiding the enemies. Mario can use multiple platforms (some of them collapse if Mario lands on them), stairs in the level, and trampolines. There are also warp tubes along the way, some of which Mario can enter to visit various secret coin rooms before returning to the level, a little further up than when he left.

Takashi Tezuka, Shigeru Miyamoto and Kōji Kondō on September 13, 2015 at the Super Mario 30th Anniversary Festival in Shibuya, Tokyo

The NES gamepad ; left the control pad, right the action buttons

Opponents include Gumbas , Koopas, Beetles, Parakoopas, Kugelwillis, Hammer Brothers and jumping Cheep Cheeps. All of these enemies can be defeated if Mario jumps on them. Koopa troopas and beetles hide in their shell when the player jumps on them, and Mario can kick them to defeat other enemies. Paracoopas lose their wings and fall to the ground when Mario jumps on them. Other enemies include piranha plants and the stachi-throwing lakitu, and Mario must either shoot fireballs at them or just avoid them. There are two levels that take place underwater. Mario can swim freely from top to bottom in the water. The enemies in underwater levels are bloopers and cheep-cheeps. Mario can only defeat these creatures by shooting them with fireballs.

If the normal Mario gets a hit, falls into a pit, or the time limit expires, he will lose a life and restart the level. The point at which Mario continues depends on how far he ran through the level before being defeated. Either from the beginning or at one of several invisible "control points" throughout the level. If the number of Mario's lives drops to zero, the game ends and Mario has to start his journey again. However, if the player presses the start button after the end of the game while holding down the A button on the title screen, the player can continue at the beginning of the last world reached. In a 2-player game, both players start in the same world in which the second player's game ended. It is Luigi's turn when Mario loses a life. Luigi doesn't have any special abilities in the game that are different from Mario's.

World 1-1 from Super Mario Bros. on a Famicom

Mario can get special power-ups made from question mark blocks or the occasional stone blocks. Most of the? Blocks that Mario finds these items in are visible, but some are hidden and won't become visible until Mario hits them from below. With the super mushroom he turns into Super Mario. As Super Mario, he can survive a hit from an enemy once, but turns back into regular Mario. He can also destroy empty brick blocks by jumping under them. He can also get the fire flower. With the Fire Flower, Super Mario transforms into Fire Mario, so he can shoot fireballs at enemies to defeat them from a distance. With the 1-Up mushroom he gets an extra life. He can also get an extra life by collecting a hundred coins. With the super star, which can only be found in stone blocks, Mario becomes invincible for a short time and can defeat opponents by simply touching them.

At the end of each level there is a castle with a target post nearby. When Mario reaches the target post, he will take off the enemy flag and enter the castle to complete the level. The higher the point where Mario hits the target post, the more points he gets.

The fourth level of each world takes place in a castle. They are usually filled with fire sticks and hotheads. At the end of a castle level, Mario is confronted with a fake Bowser in worlds 1 to 7 and the real Bowser in world 8. Mario and Luigi usually have no way of harming the fake Bowsers or the actual Bowser, and they both have to use the ax to destroy the bridge and throw Bowser into the lava or defeat him with fireballs (exposing the real faces of the fakes brings). After defeating a cheater, Mario frees one of the seven remaining Toads from the castle. At the time of his liberation, he spoke the sentence that is legendary in the video game world: “Thank you, Mario! But our princess is in another castle! ”(Thank you, Mario! But our princess is in another castle!). At the end of the castle in World 8, Mario frees the grateful princess and ends his adventure. He has the choice to continue playing in a "new quest". In this second version of the game, the player can choose a world and repeat some levels, or play through the 32 levels in a modified form. All gumbas will be replaced with beetles, all ground enemies are also considerably faster, some elevator style platforms and lifts are shorter and the layer design has been changed slightly for some layers.

control

• Control pad (left & right): move; change position on a tendril
• D-pad (below): crouch; enter a warp tube
• D-pad (up & down): climb on a tendril
• A button: jump; swim upwards
• B Button: Sprint; Throwing fireballs; restart the game at the end; Select world
• Start button: pause; Confirm selected options on the title screen
• Select button: Select the number of players on the title screen

Characters

Playable

• Mario  : He's the hero of the story and a professional plumber. He can jump high and use the fire flower to throw fireballs. He is wearing brown clothes and red dungarees.
• Luigi  : Mario's younger brother and partner in the plumbing shop. He has the same skills as Mario. To distinguish him from his brother, his clothes are green and his overalls are white.

Not playable

• Princess Peach  : The monarch of the kingdom. She is the only one able to reverse Bowser's spells.
• Toad  : Small creatures with a mushroom-like hat. They are seven in number and were captured by Bowser.

opponent

• Blooper  : Octopus-like opponents who live underwater. Your tactic is to chase Mario in the water.
• Kugelwilli  : missiles with eyes and arms. They are either fired from Willi blasters or appear on their own.
• Beetles  : Small turtles with a dark blue shell. They act just like Koopas, with the difference that they are immune to fireballs.
• Cheep-Cheep  : A spherical fish. The red ones are faster than the gray ones. They can also jump in two levels.
• Fire stick  : Consisting of several fireballs, they move clockwise or counterclockwise. Their length varies.
• Hammer Brother  : Armored Koopas who throw hammers and jump in between.
• Parakoopa  : Koopas with wings. The reds float above the ground, the greens jump around.
• Koopa  : Bowser's turtle-like soldiers. If you jump on them, they'll crawl into their shell. The reds turn back when they hit a pit.
• Lakitu  : These special Koopas wear glasses and throw an infinite number of stachi eggs from their cloud.
• Gumba  : A mushroom-like opponent and traitor to the mushroom kingdom. He does not turn back in front of a pit.
• Hothead  : Fireball-like guardian of the fortresses. They jump out of the lava to harm Mario.
• Stachi  : Lakitu's prickly pet. Because of its spikes, it can only be defeated with fireballs.
• Piranha plant  : Carnivorous plant that lives in tubes. You won't get out when Mario is standing directly on or near the pipe.

Bosses

• Fake Bowser  : Opponent disguised as a Bowser. With five fireballs you can defeat him and bring his true form to light.
• Bowser  : King of the Koopas and kidnapper of the princess. He breathes fire and can throw hammers.

Objects

Power ups

• Super  mushroom: A yellow-red mushroom. Turns Mario into Super Mario.
• Coin  : Most common item in the game. If Mario collects 100 of them, he gets an extra life.
• Fire Flower  : Turns Super Mario into Fire Mario.
• Superstar  : Makes Mario invulnerable for a short time. Resembles a star with eyes.
• 1-Up Mushroom  : A yellow-green mushroom. This gives Mario an extra life. Most of the time they are hidden.

History of origin

prehistory

The 1981 Donkey Kong arcade machine is the first appearance of the character Mario. The success of the game served Nintendo as the foundation for the Famicom and acted as the starting point for the career of its developer Shigeru Miyamoto.

The industrial designer Shigeru Miyamoto (* 1952), employed by Nintendo in 1977, developed titles such as Donkey Kong ( Arcade , 1981) and Mario Bros. (Arcade, 1983) with the later Game Boy inventor Gunpei Yokoi (1941–1997 ). The success of these games enabled Nintendo to enter the home console market with the Famicom in 1983. The group later introduced the console into the western markets as the Nintendo Entertainment System (NES). In the meantime, the video game industry had suffered severe losses as a result of the so-called " Video Game Crash 1983" and Nintendo lost market share in the arcade game industry. In addition, the importance of the most important Nintendo character to date, Donkey Kong, dwindled, while the previously neglected character Mario, who had also made her debut in Donkey Kong , was strengthened. Since the then group president Hiroshi Yamauchi (1927-2013) shifted the focus of his company to home consoles, he set up the development department Nintendo Research & Development 4 (R & D4) in 1983 and commissioned it to produce new Famicom games. Yamauchi used Miyamoto as the chief game developer for that division.

R & D4 initially developed games of different genres in which neither Mario nor Donkey Kong appeared, such as Devil World (NES, 1984), Excitebike (NES, 1985) or Ice Climber (NES, 1985). In these games, Miyamoto experimented with the side-scrolling technique, which he originally wanted to use in Donkey Kong .

Goal setting and team building

Project leader Shigeru Miyamoto

With Donkey Kong , Nintendo had founded a new type of game that is cataloged under the subsequently established genre name "Jump 'n' Run". In the following years, Nintendo increasingly lost the genre leadership to other manufacturers. Miyamoto, who saw the genre as Nintendo's own creation, therefore tried to find the connection in the genre with a new, ambitious project. At the time, Nintendo's Famicom game repertoire was divided into series such as the action series or the arcade series. To enrich the offer, Yamauchi ordered the production of adventure games for the Famicom. Those titles should be more action-oriented than the previous ones and benefit from the processing power of the Famicom. As the Famicom Disk System (FDS) was about to be launched in Japan , the new adventure project was supposed to be the swan song of the Famicom module technology. Yamauchi granted Miyamoto and his team as much development time as was needed.

Miyamoto was the head of the new project. Takashi Tezuka (* 1960), who was hired in April 1984, acted as co-director. Both were responsible for the game concept , the universe and the sections. The programmers Toshihiko Nakagō (* 1957/1958) and Kazuaki Morita (* 1965) from the external company Systems Research & Development (SRD) were responsible for the technical realization of the game . Named by many sources as the third programmer Yasunari Nishida was not Super Mario Bros. involved. The video game composer Kōji Kondō (* 1961) was responsible for the music and the sound effects, while the Japanese animator Yōichi Kotabe (* 1936) contributed as an illustrator . The producer role was held by Hiroshi Ikeda (* 1934), head of the R&D4 department at the time , while Yamauchi was the project's executive producer .

Project start

The adventure project resulted in two different games: a jump 'n' run for the Famicom and an adventure for arcade machines. Miyamoto and his team worked on both games in parallel, assigning their many ideas for the project to one of the two games. Nevertheless, both productions influenced each other. For the purpose of delineation, the platformer game should be linear and the adventure game nonlinear.

Originally, the team expected to be the first to complete the adventure game. When its completion was delayed, the team put its focus on the platform game, as one of the two games was due to hit the market in 1985. In the meantime, the series classification of the platform game had changed so that it was henceforth part of the Famicom action series. The adventure project finally came onto the market for the FDS in early 1986 under the title The Legend of Zelda .

Concept development

Since the project was the first opportunity for Miyamoto to work with contemporary technology as a Director, he defined three main features that should take advantage of the Famicom computing power: a large character, a colorful background and side scrolling. The latter objective could not be combined with a simultaneous two-player mode such as in Mario Bros. , so the team discarded one for their new project.

In December 1984, the SRD programmers under Miyamoto's instructions developed a first prototype of what would later become Super Mario Bros. , in which a character that was twice the size of Mario Bros. jumped around. This prototype used a rectangle with the dimensions 16 × 32 pixels as a placeholder for the game figure. At this point in time, no specific character was assigned to the project. Only after Tezuka found out about the success of the Famicom port from Mario Bros. did he propose integrating Mario Bros.'s protagonist as a character in the new project.

After the team had decided to build vertical and horizontal level progression into the game, the sky and underwater sections were created. On February 20, 1985, Miyamoto signed the final specifications for the project. "The original concept of Super Mario [Bros.] was about a dynamic, athletic game that is played on land, water and in the air, and in which a large figure is controlled," said Tezuka in 2009, summarizing the plans . The project name of the game was Mario Adventure or Mario's Adventures .

Thanks to the experience gained by working on Excitebike and Devil World , the team was able to realize the large character and the side scrolling. Ideas from the previous games were also incorporated into the project. Mario Bros. , the team took the game elements blocks, tubes and turtles. Also appeared Marios brother Luigi, who in two-player mode of Super Mario Bros. is controlled, for the first time in Mario Bros. on. The starting point for the concept of the warp zones was the level selection in the arcade version of Excitebike . The control of the underwater sections is influenced by Balloon Fight (NES, 1984) and advice from its programmer Satoru Iwata .

Originally the character jumped with the help of the directional pad. Pictured: Famicom controller

As the project progressed, the concept behind the project changed. The team soon found it more satisfactory for the player if the character did not appear in its full size throughout the course of the game. Therefore, Miyamoto and Tezuka introduced the transformation from normal to Super Mario into the project, which was also made possible for Luigi. The title of the game is derived from this ( Super Mario Bros. means "Super Mario Brothers").

In addition, the team distanced itself from the original control plans. At first it was thought that the player would let the character jump with the up button of the directional pad and fire projectiles with the A button, which would be used in shoot-'em-up passages in the sky . Ultimately, the developers discarded the shoot-'em-up sections, redesigned the projectiles into fireballs and established the final control scheme in which the B button is used both for running and for firing fireballs. This made it possible for the developers to outsource the jump action to the A key.

Fictional universe

As soon as the functions of the game were determined, Miyamoto and Tezuka determined the appropriate shapes and thus created the fictional universe of Super Mario Bros. In doing so, they followed a philosophy of Miyamoto's mentor Yokoi, according to which first the function and only then the shape of a game element was determined be. For example, Miyamoto and Tezuka agreed on the function of being able to transform the playing figure into a larger state, but only later decided which form this element should take.

Miyamoto said that in determining the shapes, she may have been unconsciously influenced by stories like Alice in Wonderland , Snow White and Sleeping Beauty . Childhood memories of Miyamoto, who had explored mountain landscapes and caves as a child, were also incorporated. Miyamoto denied the claim that the magic mushrooms that transform the character were taken from Alice in Wonderland . Instead, the shape was inspired by the fact that mushrooms have always been associated with magical worlds. As a result of the mushroom power-up, the developers christened the game world "Mushroom Kingdom" and based on this, laid the foundation for the plot.

The team was unable to implement the idea that the character should travel to heaven without any problems as originally planned. In a second version of the concept, the game character was supposed to reach the sky by climbing up clouds - this was also not possible because the programmers were unable to perform the vertical scrolling required for this. Tezuka's solution was to be achieved the character the sky by an emerging from a block Beanstalk climbing up. Tezuka named Hans and the Beanstalk as inspiration . Now the level sections on the ground and in the sky should be strictly separated from each other. The classic Chinese novel The Journey to the West provided the inspiration for the sky .

Alakazam - King of the Beasts , an anime musicalbased on that novel, inspired the boss of Super Mario Bros. If this was originally Donkey Kong, Miyamoto later created a character based on the ox king from Alakazam. Miyamoto's first draft resembled a turtle and was different from King Koopa's final design. Its name "Koopa" comes from a Korean dish called Gukbap, which is known in Japan as ク ッ パ, kuppa.

The Super Mario Bros. game module has a memory size of 40 kilobytes and can contain a maximum of 256 sprites each with a maximum size of 8 × 8 pixels. Therefore, the developers proceeded to save memory space, especially with the graphics of the game. By adding wings to the enemy type Koopa, a new enemy race called Parakoopa was created. In addition, the programmers used the same sprite for the clouds and the bushes in the game, which is just colored differently. Furthermore, the developers designed numerous graphic elements in the game symmetrically so that they could be halved and mirrored and thus saved half of the required storage space. The developers used this approach when designing items or opponents such as the gumbas. The latter are graphically simple, as they represent the last enemy species recorded in the game.

Tezuka was responsible for Mario's sprite design. He changed the blue-red color scheme of the character used in Mario Bros. to red-brown so that the player can easily recognize it against the blue background. Compared to his previous appearances, Mario appears wider and larger in Super Mario Bros. , as more pixels were available for his sprites. This enabled Tezuka to add more detail to Mario's portrayal, such as a longer nose and larger eyes, that make him look like a cartoon character. Luigi was given a color scheme with white overalls, while due to technical limitations, both his shirt and his eyes, hair and beard are colored green.

Level design

The objective for the level design of Super Mario Bros. was that the player should ideally need about a minute to play through one of the 32 game sections. The guideline level length determined from this was around 20 screens. The longest level in the finished game is 32 screens, while most of the others are far shorter.

Tezuka and Miyamoto designed the levels and drew them on graph paper so that they could be technically implemented by the SRD programmers. When designing the level, they tried to anticipate the expected reactions of the players. Originally, Super Mario Bros. was supposed to be five worlds. Since Miyamoto wanted eight worlds, which was problematic because of the limited storage space, some segments appear in a slightly different form in several levels. This enabled the team to create as many levels as possible with little space.

After customer testing an early version of the game, developers received complaints about the high level of difficulty. During this phase of the project, what the developers thought was the most fun levels were at the beginning of the game. As a result of the feedback, the developers arranged the levels according to their level of difficulty, so that it increases continuously from the beginning to the end of the game. To do this, they moved the levels originally intended for the start of the game into the third and fifth world and redesigned some levels or from scratch. Because of this, more levels have been designed for Super Mario Bros. than the final version contains. Remnants of some discarded levels are still present in the program code . One of them is still accessible to the player in the final version due to the exploitation of a programming error (see also section “Program errors and Easter eggs” ).

The developers only designed the first level of the game at the end and then revised it several times. It should teach the player the basics of the game principle as a subtle tutorial (see also section “Design of World 1-1” ).

volume

Kōji Kondō was responsible for the tone of the game.

Since the Famicom / NES generates music and sound effects via the CPU , the developers of Super Mario Bros. considered the CPU load caused by the sound right from the start. In order to be able to estimate this before tones specially created for the game were available, pieces of music and sound effects from Excitebike served as placeholders.

The Nintendo composer Kōji Kondō was responsible for the final sound of Super Mario Bros. The specifications addressed to him for the main melody provided for a funny piece "in western style, drums and a kind of crack of the whip", while the underground music should appear gloomy and the underwater acoustics should include "bubbling sounds".

For the soundtrack, Kondō composed a melody for the upper world, underground, underwater and castle levels, as well as a piece that plays while a star is in possession. The soundtrack belongs to the genres of Latin American music , pop and jazz . The Oberwelt melody, a "jazz ballad", functions as the title melody of Super Mario Bros. In addition, Kondo created a series of sound effects and short music recordings.

During the early stages of development, Kondo began his work. He resolved to write music that stood out from the video game music of the time. The music should also accentuate the controls and the movements of the character. The first piece composed by Kondo was the underwater melody, the development of which he described as easy. Then Kondo wrote the first draft of the main melody with the help of a small piano . In doing so, he was guided by a prototype of the game, in which the character ran and jumped against an empty background, and tried to imitate its rhythm . As the development of the game showed progress, Kondo no longer considered this design appropriate and revised the upper world theme. He used a brisk rhythm that better suited the character's movements.

Some sound effects serve as background music for several actions in the game for memory reasons. For example, the sound when the character is transformed back into its normal state is identical to the sound when entering a tube.

Bugs and Easter Eggs

Some program errors ("glitches") in Super Mario Bros. experienced a separate reception. The so-called "minus world" glitch is the most well-known program error in the video game industry. Due to the inaccurate collision detection of the game when jumping backwards , it is possible to jump through the wall and enter the warp zone with the help of a special jumping maneuver at the end of level 1-2. If the first of the three tubes is used here in the non-Japanese version, the character ends up in an underwater level called "World -1", which is similar to level 7-2. The player cannot complete this level because the tube at the end of the level leads the character back to the beginning of the level.

From a technical point of view, this is the world 36-1, which is otherwise not normally accessible in the game, whereby character 36 (hexadecimal 24) represents a space. When Mario reaches about the middle of a warp zone, the screen is paused and the warp zone corresponding to the world is loaded by a script, whereby the warp zone from world 4-2 is in the memory by default (in this case the corresponding bytes from hexadecimal 24 05 24, which corresponds to the standard warp zone, to 02 03 04 for the exits to the worlds from 2 to 4 for the warp zone in world 1-2). Since the space is output as a world number, world 36-1 looks like "-1". If the bytes were written by default with 00 instead, the player would only take the normal exit from the cave at the end of the level, but this is not possible without changing the ROM or RAM, since the bytes are not written with 00. When the game tries to load the world 36. it searches for the corresponding byte far behind the programmed table for worlds and finds a value in the area of ​​the opponent table that corresponds to the underwater part of world 7-2. The game loads the level built as world 7-2 as world 36-1, but since no tube exit is specified for world 36-1, the level from world 7-2 is always loaded from the beginning when entering the tube.

In the Famicom disc system version of Super Mario Bros. , exploiting this programming bug makes several such levels accessible that the player can master. The video game historian Steve L. Kent called this bug an Easter Egg , which lets the player explore completely new worlds. Miyamoto said that the bug was not intended by the developers. However, since it doesn't crash the game , it can be seen as a kind of feature.

Another trick in the game allows the player to quickly get a large number of extra lives . To do this, at the end of level 3-1, the character must repeatedly jump onto a Koopa's tank at very short intervals. The developers deliberately built this trick into the game. So it is an Easter Egg.

Illustrations

The Famicom module from Super Mario Bros. features an illustration drawn by Miyamoto.

Miyamoto drew the cover artwork for the game himself after time constraints prevented him from hiring an external illustrator. The Japanese anime animator and illustrator Yōichi Kotabe later created illustrations for Super Mario Bros. based on Miyamoto's drafts , which Nintendo used in the guidance and marketing of the game. Compared to Miyamoto's design, Kotabe's design appears rounder, friendlier and more expressive to Mario. Although Mario has a red-brown color scheme in the game, he appears in the illustrations with blue overalls and a red shirt. With this, Kotabe created the final design for the central characters of the Super Mario universe.

publication

Publication in Japan

In Japan, Super Mario Bros. was released for the Famicom on September 13, 1985.

Before its release, Super Mario Bros. was little known within Nintendo. Masayuki Uemura , the chief developer of Famicom, or administrative director Hiroshi Imanishi, for example, did not know anything about the game beforehand . Miyamoto, on the other hand, demonstrated the game to Group President Yamauchi and his former mentor Yokoi during the prototype phase. Both Yamauchi and Yokoi responded positively to the game.

Super Mario Bros. was released in Japan on September 13, 1985 for the Famicom. Immediately after its launch, the game received little attention from the video game market and initially spread largely thanks to word of mouth . Shortly thereafter, the game gained popularity, especially among children, due to positive reviews in the Japanese press. The commercials for the game were “poorly made and had little focus on the game” (“[they] were rather poorly made and put little emphasis on the game”). The Japanese launch of the game benefited from the fact that only a few games were released in 1985 with a lasting positive impression. In addition, most of the Famicom releases of the year featured simple tech and familiar concepts. At the same time, however, more technically demanding titles than Super Mario Bros appeared. By the end of the year, the spread of the game increased strongly. It was very popular with both children and adults and sold out at many retailers.

From the end of 1985 Nintendo sold the game as a bundle offer together with the Famicom console. This made it an important reason to buy the Famicom.

Western launch

Nintendo of America (NoA) decided in 1985 to introduce the Famicom in North America under the name "Nintendo Entertainment System". The then NoA President Minoru Arakawa commissioned Howard Phillips , the company's game reviewer, to select those titles from the Famicom's game repertoire that were also to appear in North America. Phillips selected 16 games, including Super Mario Bros. , which he selected as the flagship title for the NES launch in America.

As part of a test launch, NoA released the NES in New York City in late 1985 ; it was not until late 1986 that the console was available throughout North America. It is not known whether Super Mario Bros. was available with the first test releases or only for the national market launch. Nintendo itself specifies October 18, 1985 as the North American release date. The company started an advertising campaign for the game, which eventually convinced many customers in North America to buy the NES. "As soon as kids tried Super Mario Bros. , the NES landed on the wish list" ("Once kids tried Super Mario , Nintendo was put on Christmas lists."), Reported the journalist David Sheff in 1993.

In order to make the NES and its flagship game Super Mario Bros. known to a wider audience before the national market launch, an arcade port of the game appeared in North America and probably also in Europe in early 1986 .

Since there were no Nintendo subsidiaries of their own in Europe and Australia at that time, independent local distributors were responsible for the publication of Super Mario Bros. in these markets. In the European countries the game was available from June 1986 or from September 1987; the latter date applied to Germany, France and the United Kingdom, among others. The response from the European game market, which is mainly dominated by home computers , to Super Mario Bros. was rather subdued. Because of its technology it could not convince the European market, but because of its gameplay.

In North America, Super Mario Bros. was available as a stand-alone module and as part of the NES Control Deck and Nintendo Action Set console bundles . Nintendo later sold the game in the form of multi-modules. For example, a 2-in-1 module with Super Mario Bros. and Duck Hunt (NES, 1984) had been available since 1988 , and a 3-in-1 module followed later, which included the game World Class Track Meet in addition to those two titles (NES, 1988). In 1990 the multi-module Nintendo World Championships 1990 appeared , which includes Super Mario Bros. , Rad Racer (NES, 1987) and Tetris (NES, 1989) and is considered one of the rarest video games. In 1991 the multi- module Super Mario Bros./Tetris/Nintendo World Cup came onto the market in Europe .

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  The Nintendo Entertainment System with inserted module from Super Mario Bros.

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  Back of the NES module from Super Mario Bros.

Global sales

The Japanese video game organization Computer Entertainment Supplier's Association announced in 2002 that Super Mario Bros. had sold a total of approximately 6.81 million times in Japan. The exact worldwide sales of the game, however, were unclear for a long time. In 1989 Nintendo said it had sold 70 million in a Japanese brochure. In 1991, the company lowered that estimate to 50 million in an official American game guide. Kent wrote in 2001 that the game had been able to sell 30 million times and the video game journalist Chris Kohler spoke in 2004 of "well past" 20 million sales.

In 2010, on the occasion of the 25th anniversary of Super Mario Bros. , Nintendo announced that it had sold over 40 million copies of the title worldwide. It was the best-selling console video game for two decades before Wii Sports ( Wii , 2006) surpassed that performance.

reception

Genre assignment

During its development and in the time immediately after its release, Super Mario Bros. was considered to belong to the adventure genre, which at that time was defined by scrolling game worlds and an acrobatic character. In order to distinguish it from the action-oriented games emerging under this name, the game press ran it from 1987 under the name "Adventure Arcade". From this the genre name "Action-Arcade" developed, which expressed the playability, the simplicity and the speed of Super Mario Bros. and comparable games. The game press received Super Mario Bros. from the beginning of the 1990s as the best game of its kind and as a prime example of comparable games; the press initially summarized this under the new genre name “ Action-Adventure ”. Finally, the genre name “Platform Game” (German equivalent: “Jump 'n' Run”) prevailed. In retrospect, the gaming press assigned not only Super Mario Bros. , but also its predecessors to this genre.

criticism

Contemporary criticism

The magazine Video Game Update published in 1986 as the only publication immediately after its launch in North America a meeting to Super Mario Bros. The two reviewers highlighted the scope of the game. It contains many surprises and discoveries and gives the player a lot of joy. They judged Super Mario Bros. to be a mandatory purchase for owners of the NES.

The German-language home computer magazine Happy Computer published a review of Super Mario Bros. in 1987. In it, the editors praised the scope of the game, but presented the graphics and sound as unspectacular. The editor Heinrich Lenhardt summed up: “ Super Mario Bros. is one of the most varied and thrilling Games of skill […]. So many playful details and different levels have been packed into this program that it almost makes you dizzy. "

In October 1987, Mathieu Brisou of the French video game magazine Tilt said that Super Mario Bros. is a “pleasant gaming experience” (“plaisir de jouer”) that benefits from good design and variety. In the previous edition of Tilt Brisou had described the game as "rather mediocre" ("relativement médiocres") compared to other NES titles. Gen4 - also a French video game magazine - reviewed Super Mario Bros. more positively in the fall of 1987. The game offers varied levels, good graphics and animations and the controls respond precisely. Therefore, the game is a must buy.

Steven A. Schwartz published a positive review of Super Mario Bros. in his work The Big Book of Nintendo Games in 1991. The game combines challenge, features, graphics and sound in an excellent way. At the same time, it is motivating, rewarding and offers a high replay value, as there is a lot for the player to discover and many tricks to learn. However, the graphics are not as detailed as the comparable titles. Schwartz also noted that the game's theme song was well known to the public.

Retrospective review

The Euro Gamer -Redakteur Alexander Bohn titled Super Mario Bros. in 2007 as the only NES game that still make as much fun as the time of its publication. The review of IGN editor Mark Birnbaum, who has imitated Super Mario Bros. a dozen times over but never outbid, or that of Darren Calvert from the English website Nintendo Life, who also described the game as timeless and high-quality in 2006, was just as positive Classic rated. In 2014, Daniel Witt's judgment from the German website Nintendo-Online was more cautious. The technology and especially the controls of the game looked outdated these days, he criticized.

Video game historians Bill Loguidice and Matt Barton rated Super Mario Bros. 2009 as one of the best NES games. The game concept is excellent and is still popular today. They also highlighted the controls as simple and intuitive and praised the physics within the game. The jumping mechanics are "very precise but flexible" and differentiate the game from other genre representatives. The authors also had positive words for the level design, which offered the player a progressive level of difficulty.

Christoph Kraus from the German Nintendo monthly magazine N-Zone also highlighted the positive aspects of Super Mario Bros. in 2011 and came to the conclusion that the game was still fun. However, it no longer captivates the player as long as it did in the 1980s. He also criticized the fact that the controls, for example, in comparison to Super Mario World (SNES, 1990) seem “terribly slippery and therefore somewhat imprecise”. The game developer and game design instructor Patrick Curry, on the other hand, described the control system in 2009 as a reference example for responsive controls in a 2D game.

Jeremy Parish said in a 2012 report for the 1UP website that Super Mario Bros. perfected the concepts of previous games. The game's side-scrolling technique is much more sophisticated than previous games such as Defender (Arcade, 1980) or Pac-Land . The jump controls also stand out from previous platformer games with many options. Furthermore, hidden extras are more sensibly integrated into the level design than in comparable contemporary games. The real strengths of the game are not about the specific properties of its level design or its concept, but the coherent game concept, which is “polished to a shine and reliable” (“polished, reliable framework”).

Rating mirror

The rating aggregators Metacritic and GameRankings only calculated average ratings for the GBA re-release of Super Mario Bros. At Metacritic this is 84 out of 100 points and is based on 14 reviews. In GameRankings, the average rating is 80.20%, based on 23 individual ratings.

The following table provides an overview of the ratings for Super Mario Bros. The “Version” column provides information about which version of the game was rated.

Magazine / website	Rating	date	version
1UP	B + 1	2004	GBA
Cubed3	9/10	0Sep 7 2003	NES
Edge	10/10	Apr. 2003	Famicom
Eurogamer	5/5	Jan. 19, 2007	Wii VC
Game Informer	9/10	June 2004	GBA
GamePro	4.5 / 5	0June 4, 2004	GBA
GameSpot	8.3 / 10	0Jan. 2, 2007	Wii VC
Gen4	98/100	1987 (autumn)	NES
Happy computer	92/100	1987	NES
IGN	9/10	06th Mar 2007	Wii VC
Nintendo Life	9/10	Dec 26, 2006	Wii VC
Nintendo Life	9/10	01st Mar 2013	3DS-VC
Nintendo Life	9/10	13 Sep 2013	Wii-U-VC
Nintendo Online	7/10	Jan 15, 2014	Wii-U-VC
N zone	2/3	Jan. 2011	All-Stars (Wii)
Tilt	15/20	Oct 1987	NES
Video game update	3.5 / 4	1986	NES
Video game update	4/4	1986	NES

¹Rated with American school grades .

Leaderboards

The following is an overview of the leaderboards in which Super Mario Bros. was placed.

Name of the leaderboard	publication	year	placement
100 Best Nintendo Games	ONM	2009	1st place
Game Informer's Top 100 Games Of All Time	Game Informer	2001	place 2
Game Informer's Top 200 Games Of All Time	Game Informer	2009	place 2
IGN's Top 100 Games of All Time	IGN	2003	1st place
IGN's Top 100 Games	IGN	2005	1st place
IGN Top 100 Games 2007	IGN	2007	1st place
The Greatest 200 Videogames of Their Time	1UP	2006	1st place
The Essential 100	1UP	2012	1st place
The Top 125 Nintendo Games of All Time	IGN	2014	1st place
Top 100 Video Games of All Time	G4tv	2012	1st place
Top 100 NES Games	IGN		place 3

Super Mario Bros. in the context of the game industry at the time

David Sheff said in his 1993 work on the history of Nintendo that Super Mario Bros. could stand out in an industry characterized by “shooting and mass destruction” with elements such as wit and humor. In 2001, Steve L. Kent named the "bright cartoon-like graphics, fast action, and a sense of humor" as elements of the game that attracted attention in the context of the time. Thanks to hidden objects within the levels, the players were encouraged to continue playing even after the plot was over. In addition, Super Mario Bros. made the difference between previous games, such as the Atari 2600 , and NES games clear in its time. Chris Kohler named the title in 2004 as the most extensive video game of its time. It was able to surpass its competition with its varied game worlds and its sheer size.

In 2013, Andrew Schartmann compared the game worlds of Super Mario Bros. and other titles from the 8-bit era. According to him, other games are reminiscent of a mere sequence of levels, while Super Mario Bros. offers a comparatively complete, convincing and varied world. In contrast to comparable games, it is not a matter of an “isolated and repetitive left-to-right journey”, since the individual game sections are linked to one another. The mature game world of the title is a milestone in video game history.

Analysis of the game design

General

In an essay in 2009, Patrick Curry analyzed the game design of Super Mario Bros. Using the game, he worked out several fundamentals for good game design. For example, Super Mario Bros. gives the player easy-to-understand tasks. These would relieve the player and give him orientation, as he would never have to think about the direction in which the goal was. Instead, he could plan how exactly he could achieve this.

In addition, Curry stated that the precise and easy-to-learn controls create a high level of accessibility and give the player the feeling of having absolute control over the character. Curry also presented the simple control schemes of the character as an advantage: the player learns all the central skills and game elements in the first levels, so that he does not have to acquire any new knowledge later in the game. The character's manageable attack repertoire is enough to defeat all opponents. The low number of power-ups compared to later jump 'n' runs also makes it easier for the player to memorize their effects, and at the same time increases their value. Despite the slight variation in terms of the game concept, the game does not allow monotony thanks to the arrangement of the familiar game elements.

Another important aspect of game design, according to Curry, is the numerous rewards within the game. The controls, the graphics and the sound therefore all act as a reward, as they allow the player to feel the consequences of his inputs due to their sophistication. Furthermore, a flagpole mini- game integrated directly into the flow of the game provides motivation at most level ends, as does the collection of points and coins. According to Curry, the latter in particular are a strong reward, as they bring in extra attempts that players of arcade titles at that time still had to buy for money.

Curry summed up that Super Mario Bros. is fun because of its controls, the appropriate level of challenge, variety, surprise and reward. He claimed that these key game design philosophies behind Super Mario Bros. , which he elaborated, apply to any video game, regardless of platform, genre or era.

World 1-1

→ Main article : World 1-1

Schematic representation of the beginning of world 1-1

Super Mario Bros. teaches the player all the important basics of his concept not through a tutorial , but through the design of his first level, World 1-1. The level begins with a completely free area in which the pawn is on the far left. In this way, the game makes the player aware that he has to steer the pawn in the right direction. Shortly thereafter, the first question mark block appears, which catches the player's attention by blinking, as well as the first, easy-to-master opponent in the game. These level elements are placed in such a way that the player independently finds out how the playing figure jumps, what the purpose of a floating block is, that opposing contact represents a threat to the playing figure and that simple opponents can be defeated by jumping on the head. If the player has overcome these obstacles, four tubes of different heights appear in the following level section. These help the player to master the jump control better.

The player learns the basics of Super Mario Bros. in the course of the first level. New game elements that appear in later levels are nothing more than variations of the basics learned in World 1-1. Jeremy Parish sees this as one of the reasons for the game's success. He named World 1-1 of Super Mario Bros. 2012 as "the most widely imitated, referenced, and parodied single level of a video game".

influence

Super Mario Bros. caused Famicom sales to spike from 2.1 million before the game was released and 3.74 million by the end of 1985. In North America, Super Mario Bros. also contributed greatly to the success of the NES; one in three households in the United States had an NES in 1990.

Video game history sees the NES as the pioneer of the modern home video game market. Super Mario Bros. made a significant contribution to this development and thereby exerted a great influence on the video game market. The game is considered to be one of the decisive factors for the economic revival of the market after the " Video Game Crash 1983", as a result of which the American video game industry collapsed and some companies in the sector were facing bankruptcy.

Super Mario series

→ Main article : Super Mario

Thanks to the success of Super Mario Bros. , the character Mario became Nintendo's mascot. Pictured: Mario statue near the Swedish company headquarters

Super Mario Bros. founded the Super Mario series, which is considered the most successful video game series with an estimated 240 million titles sold by 2010. It includes other successful and influential titles such as Super Mario Bros. 3 (NES, 1988), Super Mario 64 ( N64 , 1996), New Super Mario Bros. ( DS , 2006) or Super Mario Galaxy (Wii, 2007). Thanks to Super Mario Bros., the character Mario advanced to become one of the most famous video game characters as well as the mascot of Nintendo.

Many of the game elements from Super Mario Bros. became standard features of the series. The most important of these are the power-ups, coins, fighting opponents using head jumps, blocks, pipes, bean vines and sections of the sky, as well as hidden blocks with hidden power-ups. The actions of the subsequent games in the series engage elements of the background story of Super Mario Bros. on. Furthermore, the in was Super Mario Land encountered concept (UK, 1989) to shoot with ammunition, originally developed for Super Mario Bros. was planned. The main melody of Super Mario Bros. became the title melody of the series and therefore appears in a partially edited form in all subsequent Super Mario games. The other melodies from the game were also used several times in other games.

Super Mario Bros. built an extensive fictional universe for the first time for the character Mario, who had existed since 1981 and was initially intended as a realistic, vulnerable and human character. With Super Mario Bros. she turned into a fantasy or cartoon hero. This development is reflected in the fact that the successors to Super Mario Bros. are set in a creative, fantastic world, while previous Mario games take place in locations such as a construction site or the sewer system of a major American city.

Influence on other video games

Patrick Curry named Super Mario Bros. the most influential video game of all time in a 2009 essay on the game's design. It represents a milestone in the field of game design. By influencing an entire generation of game developers, it has served as a model for many other video games for years. Video game journalist Jeremy Parish portrayed Super Mario Bros. 2012 as a turning point in video game history, the concept of which has been widely imitated.

The games and series strongly influenced by Super Mario Bros. include The Great Giana Sisters ( C64 , 1987), Wonder Boy ( Game Gear / SG-1000 / Master System , 1986) and Alex Kidd in Miracle World (Master System, 1986) . While the former exactly imitated Super Mario Bros. in places and was therefore controversial, the latter two titles received a very positive response. All three became competitors of Super Mario Bros. Other important series in this context, but which were less directly influenced by Super Mario Bros. , are Castlevania , Sonic the Hedgehog and Mega Man .

Super Mario Bros. is the first video game that takes momentum and inertia into account when controlling the character . Chris Kohler also named Super Mario Bros. 2004 as the first game whose primary goal is not to achieve the highest possible score, but to complete the plot. Another innovation from Super Mario Bros. is that the character's central ability, jumping, serves both for locomotion and for fighting opponents at the same time. According to Curry, the central level themes of the game, such as forest, water, ice or lava levels, have so often been adopted from other video games that they are now clichéd .

French video game historian William Audureau said in 2013 that the reception of Super Mario Bros. tends to overestimate the game's influence on the platforming genre. Because since the foundations for the genre existed before the game was released, it could not be the foundation of platformer games. Pitfall! ( Atari 2600 , 1982), for example, already offered a constant game world, a time limit and an underground level in the levels. Earlier games such as Jungle Hunt (Arcade, 1982) also used side-scrolling, and Pac-Land (Arcade, 1984) had a game world divided into themes, obstacles, platforms and opponents that could only be defeated by power-ups. All of these elements are also central in Super Mario Bros. represent. With this game, Nintendo built on those ideas that already existed.

interpretation

Soundtrack

In 2013, the musicologist Andrew Schartmann said in his book Maestro Mario that each of the four main pieces of the Super Mario Bros. soundtrack sounded different and generated different emotions in the listener. The soundtrack thus accentuates the richness of the game world. At the same time he gives it a unifying framework, since the individual pieces can be heard frequently in the course of the game.

Schartmann described the main melody of the game as a very energetic, jazz- like piece that creates a very positive atmosphere. Like the main melody, the underwater melody is written in C major . As a waltz, it goes well with the smooth movements of the character under water. His limited skill repertoire in the corresponding levels is reflected in the quieter character of the underwater melody.

In contrast to the main melody and the underwater theme, the underground melody creates a dark, restless feeling. This impression arises due to the tritone used and the different lengths of pauses between the individual notes. Furthermore, the piece harasses the player because it is often repeated due to its shortness. The castle theme seems even darker, which makes orientation difficult for the player due to atonal music . In addition, this piece is also short and often uses the tritone, which emphasizes the threat to the respective level. The theme of the star power-up creates a feeling of rush, pressure and urgency due to its very high speed. Thereby it entices the player to advance faster in order to efficiently use the short time in the invincible state. This gives the player the impression that the character is moving faster.

For the sound effects of the game, Kondō used the film music technique " Mickey Mousing ", Schartmann wrote on. The sound effect for a jump of the pawn is an ascending glissando , which reflects the rise of the pawn in the air. The sound effects for collecting useful items are also of an ascending character and thus support the player's positive feeling.

Action-related interpretations

The American psychiatrist Raoul Berke published an opinion on Super Mario Bros. in the San Francisco Jung Institute Library Journal in 1990 . In it he attributes the general popularity of the game to its archetypal content and writes that individuation is the main content of the game. Death threatens the character at any time, whereby Berke interprets the time limit as a reference to the limitations of life and one's own ego. The character can use power-ups to increase their ego. This grants her new abilities, despite which she cannot jump higher than in the normal state. To get to a super mushroom and thus expand her consciousness, bump her head against a stone block. This illustrates their desperation. Furthermore, Berke saw parallels to the collective unconscious in the underwater levels of the game . Here Mario as an individual is powerless against the collective and is therefore limited in his abilities. He could not fight the individual elements of the collective - the opponents in the game. The fact that Mario is informed at the end of each castle level that the princess is in a different place also expresses that the goal of individuation is not actually achievable. Rather, in this case, the way is the goal.

Adaptations

Merchandising

See also : Section "Mario in TV and Cinema" of the article "Super Mario"

Under the title Super Mario Bros. Kanzen Koryakubon an official appeared in Japan strategy guide to the game. It became the best-selling Japanese book of 1985, with sales of 1.35 million. In North America, readers of the Nintendo Fun Club News newsletter received an English-language version of this guide.

An anime film and manga related to the game were released in Japan . A lot of merchandising for the game was also released in North America, including the Super Mario Brothers Super Show , which aired from 1989 , a comic series and the 1993 movie Super Mario Bros. Furthermore, a pinball machine for Super Mario Bros. by Gottlieb was released in 1992 .

Motion picture

→ Main article : Super Mario Bros. (film)

In 1993 a movie called Super Mario Bros. was released . The film was directed by Annabel Jankel and Rocky Morton , and the lead roles were Bob Hoskins (Mario), John Leguizamo (Luigi) and Dennis Hopper (Bowser). Super Mario Bros. is considered the first video game film and has been rewritten many times during its three-year creation phase. Despite its title, it is less of a film adaptation of the game than an adaptation of the entire Super Mario universe developed to date . The movie Super Mario Bros. received negative reviews. In the United States, it played just under half of its production budget of around $ 40 million, making it a commercial failure.

Video games for other platforms

Due to the success of Super Mario Bros. , Nintendo released six games based on its gameplay in 1986. This includes implementations for other platforms, (advertising) revisions and games intended as a sequel. The alternate versions of the game take over a lot of material from Super Mario Bros. and are aimed at players who have already completed the title. In addition to newly designed game sections, levels removed from the original game were also incorporated into the new games. Due to their mostly only regional distribution, their high degree of difficulty and the barely revised technology, those games mostly proved to be of little importance. This led to the fact that later, newly developed games in the series were not exclusively aimed at experienced players, but increasingly also aimed at beginners. In addition, Nintendo has released numerous new editions, re-releases and adaptations of the original Super Mario Bros. in the past few decades .

successor

In Japan, a few months after the release of Super Mario Bros. , Nintendo released a sequel called Super Mario Bros. 2 (FDS, 1986). This is very much based on its predecessor and is characterized by its significantly higher level of difficulty. Instead of the Japanese successor, another game called Super Mario Bros. 2 (NES, 1988) appeared on the western markets . This is very different from Super Mario Bros. Although it failed to meet the high expectations placed on it, it sold almost seven million times. The first legitimate successor to Super Mario Bros. is Super Mario Bros. 3 . The subsequent games Super Mario Land and Super Mario World are also based on the concept of Super Mario Bros. , although they have a different name. From 2006, Nintendo reissued the Super Mario Bros. formula with New Super Mario Bros. and its successors with great success.

Ports

Arcade

At the beginning of 1986 Nintendo released a direct arcade version of Super Mario Bros. in America and Europe for marketing purposes. It did not differ in content from the home console version, which only appeared nationwide a few months later. Customers were able to play the game in arcade halls before the NES and its flagship title were released. Some video game historians and journalists only mentioned this obscure arcade version in passing, sometimes wrongly concluding that Super Mario Bros. was originally an arcade game.

In addition, Super Mario Bros. was part of the PlayChoice 10 machine repertoire . From the mid-1980s, these jukebox- like devices gave arcade visitors a choice from ten of a total of around 50 NES games.

Famicom Disk System

For the market launch of the Famicom Disk System (FDS), an additional peripheral device based on floppy disks for the Famicom, produced exclusively for the Japanese market, a direct FDS implementation by Super Mario Bros. appeared on February 21, 1986 and sold approximately one million times . This implementation differs only marginally in technical aspects from the Famicom / NES version of the game. The game has been so adapted to the double-sided disk, that the one side the first four and the second side of the last four worlds of Super Mario Bros. contains. As a result, all Warp Zones have been removed, which in the original version of the game create a link from the first to the last four worlds of the game. Therefore, the level of difficulty of the FDS implementation of Super Mario Bros. is higher than that of the original game.

Alternative versions

All Night Nippon Super Mario Bros.

All Night Nippon Super Mario Bros. is a modification of the original game that Nintendo developed as a promotional product for the Japanese radio station Nippon Broadcasting and released in 1986 for the FDS. The levels of this implementation are taken from Super Mario Bros. , Vs. Super Mario Bros. and Super Mario Bros .: The Lost Levels . Nintendo redesigned some graphic elements so that they show content from the radio show All Night Nippon , which has been broadcast on Nippon Broadcasting for decades . For example, the opponents now look like well-known DJs and presenters of the station.

Game & Watch

Super Mario Bros. as Game & Watch ("Crystal Screen"; YM-801)

From 1980 Nintendo launched the 59 LCD game devices of the Game & Watch series on the market. As part of the "Crystal Screen" series, the group released an LCD implementation by Super Mario Bros. with the serial number YM-801 on June 25, 1986 , which remained unpublished in Japan. Like the NES game, this version also offers side-scrolling levels, known opponents, item blocks and pieces of music adapted from the original. This Game & Watch device, which has a transparent screen, comprises eight levels.

Another Game & Watch version of Super Mario Bros. with the serial number YM-901 was released exclusively in Japan in 1987. The 10,000 copies produced by this implementation were awarded as a prize to those players of the Famicom Grand Prix: F1 Race (FDS, 1987) who achieved the best times in the game. The FDS mascot Diskun is depicted on the housing of these devices. This game is not one of the 59 Game & Watch devices, but is considered a collector's item.

Super Mario Bros. as Game & Watch ("New Wide Screen"; YM-105)

In March 1988, Super Mario Bros. appeared a third time as Game & Watch. This implementation with the model number YM-105 is part of the "New Wide Screen" series and did not appear in Japan.

Nelsonic also published an LCD game version of Super Mario Bros. as a wristwatch in the late 1980s . In 1998 a new edition of the Super Mario Bros appeared. -Game & Watch concept as part of the “Nintendo Mini Classics” series.

Super Mario Bros. Special

In the mid-1980s there was a contract between Nintendo and the Japanese game manufacturer Hudson Soft , which enabled the implementation of some Nintendo titles for Japanese home computers. As part of this, Hudson Soft developed a version of Super Mario Bros. intended as a sequel with the addition of Special , which the manufacturer published in 1986 for the home computers NEC PC-8801 and Sharp X1 . Compared to Nintendo's original version, Super Mario Bros. Special contains new levels, game elements and items. Due to the weak hardware of the two computers, this variant is technically inferior to the original, so that no side scrolling is possible. Super Mario Bros. Special has only been known nationwide since 2003.

Vs. Super mario bros.

Vs. Super mario bros.

Under the title Vs. Super Mario Bros. in 1986 appeared one on Super Mario Bros. -based arcade conversion. The automat is part of the Vs. Series that has existed since 1984 and mainly consists of realizations of NES success titles with two-player mode.

Miyamoto's team started developing Vs. Super Mario Bros. immediately after the completion of Super Mario Bros. About three-quarters of the levels come from the original game, while six new levels were added. Sometimes the team increased the difficulty of the levels that were taken over. Vs. Super Mario Bros. also adds a seventh track to the original game's soundtrack for the name entry and high score screen.

NES Remix and Super Mario Maker

Super Mario Bros. is one of several games included in the mini-game collections NES Remix (Wii-U eShop, 2013) and Ultimate NES Remix (3DS, 2014). Here the player must consist of mini-game- like challenges from several NES classics, some of them with different rules of the game.

NES Remix 2 (Wii U, 2014) contains a version of Super Mario Bros. in which Luigi can be played instead of Mario. In addition, the levels are mirrored in this variant known as Super Luigi Bros. , so that the screen section does not scroll from right to left, but vice versa.

In Level Editor Super Mario Maker (Wii U, 2015), the player can, among other things your own levels in the style of Super Mario Bros. design.

Extended new editions

Super Mario All-Stars

→ Main article : Super Mario All-Stars

Nintendo released a collection of new editions under the title Super Mario All-Stars ( SNES , 1993) . It includes Super Mario Bros. and the sequel games Super Mario Bros .: The Lost Levels , Super Mario Bros. 2 and Super Mario Bros. 3 . The developers adapted the graphics and the sound to match the level of the 16-bit console. They also made minimal changes to the content.

To mark the 25th anniversary of Super Mario Bros. 2010, Nintendo released Super Mario All-Stars for the Wii. This re-release corresponds exactly to the SNES original and, in addition to the game, contains a soundtrack album and a booklet with background information on the Super Mario series.

Super Mario Bros. Deluxe

→ Main article : Super Mario Bros. Deluxe

Super Mario Bros. Deluxe ( GBC , 1999) is a remake of Super Mario Bros. for the handheld Game Boy Color. Compared to the NES version, the graphics and sound remained largely unchanged. Nintendo expanded the game to include a level selection, unlockable levels from the sequel The Lost Levels and additional game modes.

In 2014, Nintendo re-released Super Mario Bros. Deluxe in the Nintendo eShop of the 3DS .

Re-releases

Game Boy Advance

In 2004, a re-release of Super Mario Bros. appeared for the Game Boy Advance. In Japan it was released as part of the Famicom mini series on the occasion of the 20th anniversary of the Famicom. In North America this re-release is part of the Classic-NES series , in Europe the NES-Classics series. In order to compensate for the smaller screen ratio of the handheld compared to the NES, Nintendo adapted the graphics of the title. In Japan, Famicom Mini: Super Mario Bros. was purchased over 500,000 times in its first few weeks on the market.

Wii

2010 appeared in Japan on the occasion of the silver anniversary of Super Mario Bros. red Wii consoles with a pre-installed version of the game in which the question marks in the blocks were replaced by the number "25".

Virtual Console

Nintendo also re-released Super Mario Bros. as a paid download for the Virtual Console range of its consoles. In January 2007 the game was released for the virtual console of the Wii and in March 2012 Nintendo released it for the Nintendo eShop of the 3DS. The implementation was available free of charge from September 2011 for early 3DS buyers. In September 2013, the Virtual Console was finally re-released in the Wii-U eShop.

literature

• William Audureau: The History of Mario - 1981-1991: The rise of an icon, from myths to reality . Pix'n Love Publishing, 2014, ISBN 978-2-918272-23-6 , pp. 187–287 (French: L'histoire de Mario . Translated by Olivier Braillon).
• Patrick Curry: Everything I know about game design I learned from Super Mario Bros . In: Drew Davidson (Ed.): Well Played 1.0: Video Games, Value and Meaning . ETC Press, 2009, p. 14–35 ( online [accessed October 28, 2014]).
• Christian Donlan: Super Mario Bros. In: Tony Mott (Ed.): 1001 Video Games You Must Play Before You Die . Universe Publishing, 2010, ISBN 978-0-7893-2090-2 , pp. 103 .
• Chris Kohler: Power Up . How Japanese Video Games Gave the World an Extra Life. BradyGames, Indianapolis, Indiana 2004, ISBN 0-7440-0424-1 , pp. 54-63 .
• Bill Loguidice and Matt Barton: Vintage Games . An Insider Look at the History of Grand Theft Auto, Super Mario, and the Most Influential Games of All Time. Focal Press, Boston and Oxford 2009, ISBN 978-0-240-81146-8 , Super Mario Bros. (1985): How High Can Jumpman Get ?, pp. 271-290 .
• Andrew Schartmann: Maestro Mario . How Nintendo Transformed Videogame Music. Thought Catalog, 2013, ISBN 1-62921-847-2 , Chapter III: The Super Mario Bros. Revolution ( preview on Google Books ).
• Steven A. Schwartz: The Big Book of Nintendo Games . Compute Books, Greensboro, North Carolina 1991, ISBN 0-87455-248-6 , Super Mario Bros., pp. 283-287 .
• Sabine Scholz, Benjamin Spinrath: Super Mario Encyclopedia - The First 30 Years 1985-2015. Tokyopop, Hamburg 2017, ISBN 978-3-8420-3653-6 , pp. 16-23.

Web links

• Super Mario Bros. at MobyGames (English)
• Super Mario Bros. on the Internet Movie Database (English)
• Official German microsite for Super Mario Bros. at Nintendo.de
• Overview of the coverage of Super Mario Bros. at IGN (English)
• Super Mario Bros. in MarioWiki
• Iwata asks: New Super Mario Bros. Wii: Part 1 - Multi-part, German-language developer interview at Nintendo.de
• Iwata asks: Super Mario Bros. 25th Anniversary: ​​Part 5: The original developers of Super Mario - Multi-part, German-language developer interview at Nintendo.de

Remarks

1. ↑ In the West, the Japanese Super Mario Bros. 2 is known as Super Mario Bros .: The Lost Levels .

Individual evidence

1. ↑ ^{a b c d e f g h} Audureau, The History of Mario, 2014, p. 193.
2. ↑ ^{a b c} Tobias Schmitz: You never stop learning: Only two programmers realized Super Mario Bros. In: Nintendo-Online. April 5, 2014, accessed August 14, 2014 . 
3. ↑ ^{a b} Super Mario History 1985-2010 . S. 7 (booklet accompanying the Super Mario All-Stars 25th Anniversary Edition ).
4. ↑ ^{a b} Frank Cifaldi: Sad But True: We Can't Prove When Super Mario Bros. Came Out. In: Gamasutra. March 28, 2012, accessed July 17, 2014 . 
5. ↑ ^{a b} Tobias Schmitz: Also revealed: When Super Mario Bros. appeared in Europe. In: Nintendo-Online. August 14, 2014, accessed August 14, 2014 . 
6. ↑ ^{a b} Osamu Inoue: Nintendo Magic . Winning the Videogame Wars. Vertical, 2010, ISBN 978-1-934287-22-4 , pp. 64 ff., 132 .
7. ↑ Loguidice, Barton, Vintage Games, 2009, p. 272 ​​f.
8. ↑ Audureau, The History of Mario, 2014, Chapter 6: Nintendo and the Crisis of 1982-1984, pp. 165-184.
9. ↑ Audureau, The History of Mario, 2014, pp. 188 f.
10. ↑ Audureau, The History of Mario, 2014, pp. 191 f.
11. ↑ Audureau, The History of Mario, 2014, pp. 193 f., 199 f.
12. ↑ Audureau, The History of Mario, 2014 S. 205th
13. ↑ ^{a b c} Audureau, The History of Mario, 2014, pp. 205 ff.
14. ↑ Audureau, The History of Mario, 2014, pp. 208 f.
15. ↑ Iwata asks: Super Mario Bros. 25th Anniversary: ​​Part 5: The original creators of Super Mario: 1. Jump with the D-Pad. In: Nintendo. Retrieved April 3, 2014 . 
16. ↑ ^{a b} Audureau, The History of Mario, 2014, pp. 211-214.
17. ↑ Audureau, The History of Mario, 2014, p. 210 f.
18. ↑ Audureau, The History of Mario, 2014 S. 214th
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20. ↑ Iwata asks: Super Mario Bros. 25th Anniversary: ​​Part 5: The original creators of Super Mario: 3. The big climax. In: Nintendo. Retrieved April 3, 2014 . 
21. ↑ Audureau, The History of Mario, 2014, p. 240.
22. ^ ^{A b} Leonard Herman: Phoenix: The Fall & Rise of Videogames . 3. Edition. Rolenta Press, 2001, ISBN 0-9643848-5-X , p. 111 .
23. ↑ Audureau, The History of Mario, 2014, p. 248 f.
24. ↑ Iwata asks: New Super Mario Bros. Wii - Part 2: 1. It all began in 1984. In: Nintendo. Retrieved April 8, 2014 . 
25. ↑ Audureau, The History of Mario, 2014 S. 213th
26. ↑ ^{a b c d} Kevin Gifford: Super Mario Bros. ' 25th: Miyamoto Reveals All. (No longer available online.) In: 1UP. October 20, 2010, archived from the original on May 11, 2013 ; accessed on April 20, 2014 (English). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  
27. ↑ Audureau, The History of Mario, 2014, p. 221.
28. ↑ Audureau, The History of Mario, 2014 S. 217th
29. ↑ Osamu Inoue: Nintendo Magic . Winning the Videogame Wars. Vertical, 2010, ISBN 978-1-934287-22-4 , pp. 63 .
30. ^ Kohler, Power Up, 2004, p. 58.
31. ↑ Audureau, The History of Mario, 2014, pp. 219 ff.
32. ↑ Audureau, The History of Mario, 2014, pp. 223-226.
33. ↑ Audureau, The History of Mario, 2014, p. 226 f.
34. ↑ Audureau, The History of Mario, 2014, p. 228 f.
35. ↑ Audureau, The History of Mario, 2014, pp. 239 ff.
36. ↑ Audureau, The History of Mario, 2014, pp. 239 f., 244.
37. ↑ Audureau, The History of Mario, 2014, pp. 244–246.
38. ↑ ^{a b} Audureau, The History of Mario, 2014, pp. 246-250.
39. ↑ Audureau, The History of Mario, 2014, p. 241.
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41. ↑ Iwata Asks: Super Mario Bros. 25th Anniversary: ​​Part 5: The Original Creators of Super Mario: 5. Memory Saving Measures. In: Nintendo. Retrieved April 3, 2014 . 
42. ↑ ^{a b c d e f g} Schartmann, Maestro Mario, 2013 Chapter 3: "The Super Mario Bros. Revolution".
43. ↑ ^{a b c} Audureau, The History of Mario, 2014, p. 230.
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49. ^ ^{A b} Steven L. Kent: The Ultimate History of Video Games . From Pong to Pokémon and Beyond - The Story Behind the Craze That Touched Our Lives and Changed the World. Prima & Three Rivers, Roseville, New York 2001, ISBN 0-7615-3643-4 , pp. 299 f .
50. ↑ Schwartz, The Big Book of Nintendo Games, 1991, p. 286.
51. ↑ Audureau, The History of Mario, 2014, p. 231 f.
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53. ↑ Audureau, The History of Mario, 2014, pp. 255-259.
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55. ↑ Audureau, The History of Mario, 2014, p. 262 f.
56. ↑ Audureau, The History of Mario, 2014, p. 263 f.
57. ↑ David Sheff: Game Over . How Nintendo Zapped an American Industry, Captured Your Dollars, and Enslaved Your Children. Random House, New York 1993, ISBN 0-679-40469-4 , pp. 175 .
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59. ↑ David Sheff: Game Over . How Nintendo Zapped an American Industry, Captured Your Dollars, and Enslaved Your Children. Random House, New York 1993, ISBN 0-679-40469-4 , pp. 413 ff .
60. ↑ Audureau, The History of Mario, 2014, pp. 267 ff.
61. ^ Steven L. Kent: The Ultimate History of Video Games . From Pong to Pokémon and Beyond - The Story Behind the Craze That Touched Our Lives and Changed the World. Prima & Three Rivers, Roseville, New York 2001, ISBN 0-7615-3643-4 , pp. 305 .
62. ^ Leonard Herman: Phoenix: The Fall & Rise of Videogames . 3. Edition. Rolenta Press, 2001, ISBN 0-9643848-5-X , p. 124 .
63. ↑ ^{a b c d e f g} David Oxford: The Many Versions, Ports, and Re-Releases of Super Mario Bros. (No longer available online.) In: 1UP. August 13, 2012, archived from the original on May 2, 2014 ; accessed on July 3, 2014 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  
64. ↑ Lukas Schmid: More than just a game . In: N zone . November 2010, p. 75 .
65. ↑ ^{a b} Kohler, Power Up, 2004, p. 61.
66. ↑ ^{a b c} Audureau, The History of Mario, 2014, p. 272.
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69. ↑ Audureau, The History of Mario, 2014, pp. 345-348.
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75. ↑ Schwartz, The Big Book of Nintendo Games, 1991, pp. 283 f.
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80. ↑ Loguidice, Barton, Vintage Games, 2009, pp. 274-278.
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82. ^ ^{A b} Curry, Everything I know about game design I learned from Super Mario Bros., 2014, p. 16.
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84. ↑ Classic NES Series: Super Mario Bros. In: Metacritic. Retrieved June 28, 2014 . 
85. ↑ ^{a b} Classic NES Series: Super Mario Bros. In: GameRankings. Retrieved June 28, 2014 . 
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96. ↑ IGN's Top 100 Games of All Time. (No longer available online.) In: IGN. Archived from the original on May 11, 2015 ; accessed on July 5, 2014 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  
97. ↑ IGN's Top 100 Games. (No longer available online.) In: IGN. Archived from the original on May 11, 2015 ; accessed on July 5, 2014 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  
98. ↑ IGN Top 100 Games 2007 | 1 Super Mario Bros. (No longer available online.) In: IGN. Archived from the original on October 4, 2014 ; accessed on July 5, 2014 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  
99. ↑ Steve Semrad: The Greatest 200 Videogames of Their Time. In: 1UP. February 2, 2006, accessed July 5, 2014 . 
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103. ↑ David Sheff: Game Over . How Nintendo Zapped an American Industry, Captured Your Dollars, and Enslaved Your Children. Random House, New York 1993, ISBN 0-679-40469-4 , pp. 3 f .
104. ↑ ^{a b} Kohler, Power Up, 2004, p. 57 f.
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107. ^ Curry, Everything I know about game design I learned from Super Mario Bros., 2014, pp. 23-27.
108. ^ ^{A b} Curry, Everything I know about game design I learned from Super Mario Bros., 2014, p. 35.
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111. ↑ Osamu Inoue: Nintendo Magic . Winning the Videogame Wars. Vertical, 2010, ISBN 978-1-934287-22-4 , pp. 215 .
112. ↑ David Sheff: Game Over . How Nintendo Zapped an American Industry, Captured Your Dollars, and Enslaved Your Children. Random House, New York 1993, ISBN 0-679-40469-4 , pp. 172 .
113. ↑ Osamu Inoue: Nintendo Magic . Winning the Videogame Wars. Vertical, 2010, ISBN 978-1-934287-22-4 , pp. 132 f .
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116. ^ Kohler, Power Up, 2004, p. 74.
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119. ↑ Audureau, The History of Mario, 2014, pp. 217 f.
120. ↑ Audureau, The History of Mario, 2014, pp. 270 f.
121. ↑ Audureau, The History of Mario, 2014, p. 253.
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123. ^ Curry, Everything I know about game design I learned from Super Mario Bros., 2014, p. 33.
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128. ↑ Kohler, Power Up, 2004, p. 62 f.
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130. ↑ Audureau, The History of Mario, 2014, pp. 361-364, 381, 390.
131. ↑ Audureau, The History of Mario, 2014, pp. 276, 286 f.
132. ^ Steven L. Kent: The Ultimate History of Video Games . From Pong to Pokémon and Beyond - The Story Behind the Craze That Touched Our Lives and Changed the World. Prima & Three Rivers, Roseville, New York 2001, ISBN 0-7615-3643-4 , pp. 364-366 .
133. ↑ Audureau, The History of Mario, 2014, p. 305.
134. ↑ Loguidice, Barton, Vintage Games, 2009, pp. 274 f., 289.
135. ↑ Tobias Schmitz: Inside Nintendo 43: The Mystery of Super Mario Bros. In: Nintendo-Online. June 29, 2014, accessed July 1, 2014 . 
136. ↑ Audureau, The History of Mario, 2014, pp. 259 f.
137. ↑ Audureau, The History of Mario, 2014, p. 279.
138. ↑ Audureau, The History of Mario, 2014, p. 278.
139. ↑ Florent Gorges, Isao Yamakazi: The History of Nintendo, Volume 2 . 1980–1991: The Game & Watch games, an amazing invention. Pix'N Love, 2012, ISBN 978-2-918272-35-9 , pp. 134 .
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