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Mario wouldn't just navigate his environment. Puzzles elements took on greater significance as well. Linear sections funneled players to boss battles, but the emphasis fell on free-roaming discovery without any time limits. A dozen inspired levels were then crafted around Mario's new moves and the plot's "Easter egg hunt" conceit. R&D4 tested everything on a flat, featureless grid by making the 3D Mario model chase and nab a yellow rabbit nicknamed MIPS, after the CPU chip.

More than that, Mario could now casually walk around instead of bat-outta-hell running everywhere, allowing him to tip-toe past some enemies. The normal repertoire of jumping ballooned with crouch jumps, triple jumps, wall jumps and backflips. Angles and camera modes were mapped to the new controller's new buttons, while an analog stick opened up Mario's range of movement. He introduced the whole camera concept by making it part of the story your "seasoned cameraman" was a Lakitu on its flying cloud, filming your adventures instead of hurling bombs your way as per usual. They were charting new territory, and Miyamoto made sure to ease players in. That required a different type of controller from the one Nintendo had stuck by for over a decade. Players wanted the freedom to explore, so they needed a camera they could manipulate where necessary. Linear stages could use a fixed camera, and early builds all supported the approach, but Miyamoto was adamant. Moving around in a 3D space complicated everything. Nintendo upped the pace on the Ultra 64, its own fifth generation console, and Miyamoto took the opportunity to step forward with a few requests.įirst-person shooters in 3D arenas were standard fare, but five years toiling on Mario FX taught Miyamoto that third-person gaming in a three dimensional environment came with a unique problem: where to put the camera. Little Big Man The moment Sony's PlayStation hit the market in 1994, the SNES became dangerously behind the times.