post any random Mario thought on your mind

I find it a little weird that practically the entire setting for Battle League is just in a void. Is the audience in that game even real?

the other games at least had a semblance of illusion that you were traveling to other stages
 
splashmouse said:
About Boshi... bad Yoshi... Yoshis' Wario. He's by Square Enix. Official but not canon.
Essentially Nintendo adopted Birdo to take his place as Yoshi's antithesis rival.
Think about it, she hasn't been an explicit villain since what, her debut? She was even a hero in Wario's Woods. That early on she redeemed herself.
So what makes her Yoshi's Wa?
They're both carefree fun loving dinos, however Birdo has a bit of vanity to her, a selfishness Yoshi doesn't necessarily have.
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I still prefer boshi
 
If I had Splatoon 2, I would've joined Team Super Mushroom last year. Sure, having invincibility is awesome, but it's temporary. Meanwhile the Super Mushroom basically is a "shield" and it only lasts until you get it.
 
Didn't Bowser have the ability to turn Toads into those ? Blocks and "horsehair plants" in the original Super Mario Bros.?
 
I think it was more like trapping Toads and I think also Mario's "friends" might be referring to the powerups. Either way, abstraction is involved.

But Bowser DID manage to trap Toads in the ? Blocks in New Super Mario Bros. Wii!
 
If Nintendo really wants to revive dead characters, they should revive Kid from the Mario Golf games and give him his proper black skin tone, not this whitewashed rubbish we got.
 
The only soundtrack I REALLY know are those terrible voices that I think voiced the Koopalings for the song breaks (god I always hated those breaks). I know what you're talking about, though they did had the iteration of the underground theme that had a stronger xylophone sound?
 
I assume the soundtrack was done digitally/synthesizer. (Aside from the music that was ripped from the games).
 
Mario Bros. is probably the most underappreciated of Mario games. I am not sure if this account is reliable, but it would seem that to some, Mario Bros. is viewed as "that minigame from Super Mario Bros. 3" or "the side mode in the Super Mario Advance series" or "that minigame in Super Mario 3D World" (Luigi Bros. plays the same way as Mario Bros.). But it's a pivotal game for the Mario series as a whole.

To give you an idea on how underappreciated it is, it is the game that is basically the reason Super Mario Bros. came into being, and if it were not for that the Mario series might not be as well-known today. To give you an excerpt from this interview:

Tezuka: Well, at lunchtime I'd often wander to various places and chat to people from other departments. So I'd become friendly with people that way. Anyway, I was shown the sales figures and I saw that although Mario Bros. on the Famicom19​had been released over a year previously, it was still selling consistently well.
Iwata: So you saw those sales figures and a light bulb lit up above your head?
Tezuka: Right. I thought: "This Mario is pretty popular." I recall that I mentioned to Miyamoto-san that Mario was selling consistently well and he said, "Mario seems like the way to go."
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Yes, that's right: if it weren't for Mario Bros. selling well for the Famicom, there won't be Super Mario Bros. as we know it. Maybe it might have been "Super Ice Climber" or something. Maybe to some, no more Mario would be a favourable outcome, but to me, Mario being famous is a happy consequence to the whole thing.

Of course, Mario Bros. also help to get developers outside their comfort zone in regards to what Mario can do, because this is the first time Mario's jump height increases way beyond that in Donkey Kong, and not to mention he won't get fall damage (though it helps that the terrain did not make room for that). The comfort zone is further expanded in Super Mario Bros. with its floating blocks.

Thank you for reading.
 
https://www.eurogamer.net/r-papermario2-gc said:
renowned for tackling grand and often sombre themes, and weaving vast, intricate tales through sympathetic characters, believable [...] scenarios, sweeping musical accompaniment, considerable exploration, questions of morality and humanity, and advancement through tactical proficiency, amongst a great many other things
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This was in a review for Paper Mario: The Thousand-Year Door. :wink: They should definitely put that singing praise in the back of a box or something in re-releases if that ever happens. That'll lure the fans!
 
Pellucid Pastel Prison said:
This was in a review for Paper Mario: The Thousand-Year Door. :wink: They should definitely put that singing praise in the back of a box or something in re-releases if that ever happens. That'll lure the fans!
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bro making the game sound like an opera musical
 
Koops said:
bro making the game sound like an opera musical
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LMAO I thought my wink :wink: was plenty an indicator that something was amiss with the quote

www.eurogamer.net

Paper Mario: The Thousand-Year Door

Order yours now from Simply Games.
www.eurogamer.net www.eurogamer.net
Traditionally, Japanese RPGs have been a serious business for all concerned. As a group they're renowned for tackling grand and often sombre themes, and weaving vast, intricate tales through sympathetic characters, believable (or rather, to make an important distinction, not unbelievable) scenarios, sweeping musical accompaniment, considerable exploration, questions of morality and humanity, and advancement through tactical proficiency, amongst a great many other things. And yet Paper Mario and its new sequel reject much of that, arguably proving that you don't have to join the choir to raise the rafters; all it takes is a bit of imagination and a lot of heart.

Or a bulbous retired actress with the ability to blow the paper off the walls.

Nintendo's latest Mario role-player, designed by the phenomenally bankable Intelligent Systems, has a lot of both imagination and heart. It plays on its characters' origins in two dimensions, and the fact that traditional Mario storylines have been at best one-dimensional, through a mixture of stylistic, flourishing visuals and self-deprecation. It rejects the need for technical opulence, chess-like rules of engagement and a weighty narrative, and manages to concoct something closer to Finding Nemo than Final Fantasy, which is very much a compliment. Here screen wipes reminiscent of paper being scrumpled up, and 2D characters falling comically through gaps in the scenery, are more important than blitzing the player with mere polygons. Here battles are as much about timing and execution as they are about basic statistical superiority, and you would have to be a turtle-guzzling, double-crossing dragon to actually get yourself killed off and stripped from the overall yarn through your actions. And here, most significantly, the overarching drama is not the single most compelling factor.
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it was deliberately taken out of context and I was sarcastic!!!
bZUjho2.gif

I was trying to make fun of movie boxes taking critic reviews out of context to make it seem GOOD and you and BLOF didn't check the source I posted!!!!
 
Bowser pioneered it!
 
yeah but no one except mario was there to witness it, and it backfired miserably on bowser so he passed on the credit to the above-mentioned to cover up his attempt.
 
I feel like if Wario Land were to return, Wario would follow the school of Ground Pounding where the user flips in the air before initiating the drop (hey, he did this in the Mario Party games earliest!). Would some fans consider Wario to be ruined if he did this? I guess there may be, but this is probably something to be expected with how standardised the games are.

Thank you for reading.
 
It's interesting to think about why Wario doesn't flip when he pounds the ground in his 2D games. I assume the pre-ground pound flip is useful to stabilise you a bit in games where your movement has poor to moderate mid-air traction. In Wario Land games, your character stops moving horizontally pretty much the instant you release the D-Pad, making that little ground pound stabilisation quite superfluous. In Mario Party, minigames like "Found It Pound It" generally offer you good traction, but the ground pound in these scenarios has the additional function of stunning other players; flipping in mid-air before performing the move gives others some room to escape.

I assume the flip also exists to give the player a feeling of anticipation when the ground pound proceeds at a constant, but high velocity towards the ground. This is applicable in 3D, Yoshi's Island and NSMB games, and even in Wario World, where no matter how far you are from the ground the move has the same effect at landing. In Wario Land 4 and Shake It the ground pound has speed build-up; you don't really need the brief signal a flip would give you because you start relatively slowly, and drop faster a while after falling to allow you to plough through objects and destroy particularly hard blocks. I'm no game designer so I welcome anyone more sensible on the matter to call me out on everything I just said, but it's definitely not above Nintendo to think about what these subtle movements mean for the gameplay.

Also interesting is that, yeah, in general, Wario's mannerisms are pretty inconsistent across games. Compare his ample strut in WL4/Shake It, to his little elf man skip in Wario World, to his toilsome arm swings in Mario Party (10 and up from what I can remember).
 
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I'm going to play Mario & Luigi: Superstar Saga + Bowser's Minions at some point but have no idea when.
 
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