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Rather than existing as disparate plot threads, Final Fantasy 6’s stories coalesced under the theme of each character being a protagonist. Although Kitase was in charge of scenarios, every member of the development team pitched in with ideas for characters, their back stories, and the events they would undergo as players completed the adventure. Sakaguchi supervised cutscenes.ĭesign duties branched out even further. Assuming the mantle of producer, he appointed two directors for FF6: Yoshinori Kitase, who took charge of the game’s scenarios, and Hiroyuki Ito, overseer of all things combat.
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Series creator and director Hironobu Sakaguchi had been promoted to executive vice president of Squaresoft in 1991, leaving him unable to commit all his time and energy to a single project. It took a village, as the saying goes, to raise Final Fantasy 6, released as Final Fantasy 3 in the west. Hopefully he was OK desu ka with the Easter egg when he found out about it. Legend has it that EarthBound’s developers slipped the quote in at the proverbial 11th hour, without Itoi’s knowledge. EarthBoundĪfter inputting your name in Mother 2/EarthBound, a voice says OK desu ka-Japanese for, “OK?” The voice belongs to Shigesato Itoi, lead designer of all three Mother titles.
Although Miyamoto hasn’t referenced his interview with Tim Stamper explicitly, he has confessed that Yoshi’s Island and its initial rejection had been a “touchy subject” for him at the time it was given. Indeed, Nintendo’s foremost designer worked closely with rare on DKC, suggesting the ground-pound move that the big ape used to unearth caches of bananas. Miyamoto denied ever stating any sentiment to that effect in a 2010 interview with IGN. Stung by the rejection, Miyamoto came down hard on Stamper during their joint interview with Kent. According to Kent, Miyamoto’s initial pitch for Super Mario World 2: Yoshi’s Island was rejected by Nintendo’s marketing department for exhibiting cartoonish Mario-style graphics instead of the slick pre-rendered models used in Rare’s Donkey Kong platformer. Kent touched on the interview in a lengthy footnote on page 518 of The Ultimate History of Games. That fact, on top of Contra 3’s steep difficulty curve, made it virtually possible to complete until players were able to purchase the cartridge and play it at home. Players had to insert quarters at timed intervals to continue playing. The threequel premiered on the Nintendo Super System, a coin-op machine that boasted hardware parity with the Super NES, as well as a menu interface for selecting games. Contra 3: The Alien Wars also started as an arcade title… of sorts. The original Contra was a coin-op game that found a much wider audience when Konami brought it to Nintendo’s 8-bit system. Most Contra fans associate Konami’s run-and-gun series with the NES, where the franchise started. All played a part in one of the industry’s most impactful generations of hardware.
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Crack open its hermetic seal, and decades of history come streaming out: glitches, innovations, development anecdotes, pseudonyms, and oodles more trivia.Īhead of the Super NES Classic’s release this fall, I’ve rounded up one historical footnote per game. In that light, the mini console could be thought of as a time capsule. Innumerable contemporary games stand on the 16-bit shoulders of the giants baked into the SNES Classic. That’s saying something, considering the SNES’s vast library of classics.
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Not only does it fit in the palm of your hand, it contains the never-before-released Star Fox 2, plus 20 first-rate titles from the system’s heyday. This September, the Super NES Classic will assume the pint-sized throne abdicated by the discontinued NES Classic.
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