A TEXT POST

Mario and friends quiz cards…

thatottergamer:

Here are a few things that I learned while looking through these “Mario Quiz Cards” I bought at a flea market years ago…

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  1. Mario is a romantic…
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  2. Mario practices Kendo with a bear…image
  3. Princess Peach is blood type O Positive…image
  4. Mario likes to read…image
  5. Mario and Luigi are both against nukes…image

    6.  Luigi likes to read about history..image

    7.  Princess Peach wants equal rights…image

    8.  And lastly, I find out that Mario likes his alcohol…and apparently so do goombas…image

A TEXT POST

jazzmorelikespazz:

friendly reminder that friendly reminder posts are passive aggressive bullshit where people passive-aggressively preach about their own opinions uvu (◡‿◡✿) please do not attack my opinion i am just being friendly (✿◠‿◠)

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Reblogged from Brandon Bird
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gunshowcomic:

video games are indded Art

OKAY! STORE! OKAY! BACK! (a new comic)

A CHAT

Ninomiya Kazunari, Miyamoto Shigeru and Tezuka Takashi talking about Super Mario Bros/Nintendo!

  • Ninomiya: Hello! Nice to meet you! Ahhh man, I'm nervous.
  • Miyamoto: No, we're the ones who are nervous (laugh).
  • Ninomiya: Really!?
  • Miyamoto: Please, do relax (laugh).
  • Ninomiya: But I can't help being nervous.
  • Tezuka: About when did you play Mario for the first time?
  • Ninomiya: I was born in the same year as the Famicom, in 1983.
  • Tezuka: Super Famicom was out in 1990.
  • Ninomiya: So when I was in the first year of elementary school.
  • Miyamoto: Given your age, would the very first game you played be "Mario World", by any chance?
  • Ninomiya: No, it was 1 ("Super Mario Brothers").
  • Miyamoto: I see. 1 really was played for a long period of time.
  • Ninomiya: Um, this is kind of random, but.
  • Miyamoto: Yes.
  • Ninomiya: Why does Mario grow bigger when he finds mushrooms? Like for example, aren't there all kinds of other food out there, like meat or milk?
  • Miyamoto: Mario originally made his first appearance in a game called "Donkey Kong", where he was a pretty realistic person. His occupation was carpentry. But we wanted to make "Super Mario" more fantastical and ridiculous, so we thought, well, maybe we can set it so he grows bigger. There are many similar fairytales out there like "Alice in Wonderland" and so forth, right? Because of that, we decided mushrooms would be the perfect sort of food to eat and have something strange happen.
  • Ninomiya: I see. How did Mario become that sort of character in the first place?
  • Miyamoto: When we created "Donkey Kong", we were originally only able to use about seven pixels to form the features of a face. The hat took two pixels, with one pixel underneath the hat, two pixels for the nose, one pixel for the moustache, and one pixel for the chin. That's seven. And there were only sixteen pixels for an entire body from head to toe. When you're trying to depict something humanoid with limitations like that, you simply can't see a person without adding things like a moustache a hat, can you? That was why Mario came to wear overalls, because having the same colour would make his arms disappear whenever he turned sideways and moved them. Everything was born out of logic.
  • Ninomiya: So that was how that sort of character was created.
  • Miyamoto: Yes. Then, we thought he seemed kind of Italian-like.
  • Ninomiya: Eh? Mario's an Italian?
  • Miyamoto: No. An Italian-American who lives in New York (laugh). There were lots of reasons behind it. First off, I like America. Plus, I like Italian illustrations. Plus, the pipes in the "Mario Brothers" that came after "Donkey Kong" resembled the underground sewers of New York City. So he became a plumber.
  • Ninomiya: That's right, he's introduced as a plumber.
  • Miyamoto: We made him into a plumber in "Mario Brothers". There were construction sites around when he was in "Donkey Kong", so he was a carpenter. Then he became a plumber when the setting became the New York sewers. Everything depended on the location (laugh).
  • Ninomiya: (laugh)
  • Tezuka: We actually decided on the functionality first before drawing and designing.
  • Miyamoto: We created the gameplay first, and then started making up a story afterward in order to tie it all together.
  • Ninomiya: That's amazing~
  • Tezuka: Miyamoto-san has been working this way without change all these years.
  • Miyamoto: I've always been like this.
  • Ninomiya: But there are so many games focused on storyline nowadays. How do you feel about that?
  • Miyamoto: It would be nice if the storyline ultimately leaves an impression on you, but it's quite difficult to form gameplay from a storyline. I personally like something interactive where I can take control and play around. So while I feel forced to add gameplay when I'm designing off a storyline, I find it much easier to start off with an interesting gameplay as base and form the storyline afterwards.
  • Ninomiya: I see. Mario really is like that~
  • Miyamoto: But now that I've told you this the illusion may be lost (laugh).
  • Ninomiya: No, no. What I find kind of amazing is that, well, when we're filming video clips as Arashi, all of us would play "Super Mario Classic" in our free time. Four people are always left with nothing to do whenever we're going in for individual shots, so while A is away filming the other four would play the game, and when A is finished filming he would switch places with B, who's going in next to film. And even though A is joining in midway, he knows where he has to go in the game. It's not a matter of being family-oriented or having difficulty levels that are too lighthanded, I just think it's hard to find games where people can participate easily even if they're joining along the way.
  • Miyamoto: It makes me happy to hear that. The game wasn't made for children, but wanting to turn it into something even children can understand was something Tezuka and I often talked about. Adults would be put off if the game was made for children, wouldn't they? We wanted to make a game that even adults would not find embarrassing to play. Not only that, it's a priority of ours to make it so people playing for the first time can still understand what to do.
  • Ninomiya: I think that's amazing.
  • Tezuka: It's nice to get comments on what we put effort into making.
  • Miyamoto: Also, this game is liked by people who like doing unnecessary things while playing. It's unsettling to enter a thicket and have something come out from behind the hills because you gave the ground a stomp, isn't it? We often think up rewards for people who do unnecessary things like that, and as a result, we often add to the game as we play along in fairly real time. We know that adding little bits of surprises to the natural flow of the game like that is the easiest way for us to achieve our best standard. We would lose that if we become too overbearing.
  • Tezuka: Miyamoto and I used to plot out the layout of the land on paper in the very beginning, but we would always think of things like "The player would probably stop over here. If a mushroom pops out here, the player would go 'Ooh!' and keep moving" as we draw it out...
  • Ninomiya: That's amazing. I mean, you've managed to hook tens of millions of people with that, after all (laugh).
  • Miyamoto: But there were definitely expectations that we had set out, and we were constantly affirming whether we met those expectations as we worked on this game, and it was interesting how we managed to expand and go beyond those expectations as well.
  • Tezuka: It's interesting how there are people out there who want us to go even further beyond the gameplay we came up with.
  • Miyamoto: Definitely. You won't get a true taste of it unless you've been playing for a long while.
  • Ninomiya: Yeah. That's true.
  • Miyamoto: It was created with long usage in mind or, in other words, I considered it to be a tool. It's not like a movie where its run in theatres is over in the blink of an eye, but a tool that you personally use. Understanding how the tool works and mastering it is what will make it truly interesting for the first time.
  • Ninomiya: Ah~ I see.
  • Miyamoto: Once that happens, the game will have become that person's own, with an appeal that has nothing to do with the creators. After that, I suppose it would be the draw the game has in terms of mass appeal. It's probably the same thing with dramas and stageplays; once the audience hops on board with us, the ride goes on even with nothing done on our part. I think that's what's fun about it.
  • Ninomiya: Wow. What were you planning to implement in "Super Mario", Miyamoto-san?
  • Miyamoto: That would be responsiveness. Whether it would be too cumbersome, or whether it would turn out nice, and so on. So I would experiment with it, trying to see what sort of response there would be if Mario was just a little bit bigger. That turned out well, though.
  • Tezuka: The sizes in Super Mario would be considered normal nowadays, but back then creating a game with large-sized characters was considered a developmental first, especially within all the difficult limitations we were already under.
  • Miyamoto: But all the people making games for the Famicom were doing so under the same conditions, soo we wanted to create something that popped out amongst that regulated competition.
  • Ninomiya: I see. Something like figure skating, then.
  • Miyamoto: We wanted to make something that really stands out from the rest of the crowd while staying within all the rules that were already laid out.
  • Ninomiya: Did the two of you like gaming from the very beginning?
  • Miyamoto: There were no video games when I first joined Nintendo. Then, the year or so after I joined Nintendo was when Space Invader became a huge hit with the public. Everyone was putting in their money at the coffee shops, and that started it all. Nintendo began making games for business purposes and when they created "Donkey Kong", it more or less sold well. Video games were created by technical craftsmen up until that point, so someone like me who draws for a living felt quite out of place to be making video games.
  • Ninomiya: Wow, really!?
  • Miyamoto: It was quite rare. People who draw used to take up assistant positions. I think our company was a pioneer in letting artists completely take over directing how a game should go. And that was when this person joined in. Which year did you join the company, Tezuka-kun?
  • Tezuka: I came in 1984. It was the year after Famicom was released, and I think Game Watch was still around at the time.
  • Ninomiya: It was.
  • Tezuka: I originally studied design, and made illustrations using silkscreen when I was in university. I didn't join Nintendo because I loved video games or really wanted to create video games, more like I thought maybe I could do something interesting there (laugh). Nintendo still carried the image of a company that made playing cards and hanafuda [T/N: floral playing cards used in traditional card games], after all. I did wonder if I would be able to design something to do with games, though.
  • Ninomiya: So in reality, you both learned of television games after joining the company?
  • Tezuka: Yes.
  • Miyamoto: There were no textbooks on the topic at all at the time.
  • Ninomiya: Are there schools for that now?
  • Miyamoto: There are now. But no matter how much you like video games, we don't hire based on the extent of your knowledge of them.
  • Ninomiya: Hehh.
  • Miyamoto: Because knowing about and creating games are two very different things. So that pretty much does not matter.
  • Ninomiya: I think Nintendo sets the standard for anyone looking to create video games. Is that really due to the work environment? I can't help but wonder just why Nintendo keeps working on their established works in Kyoto and not Tokyo.
  • Miyamoto: Looking back on it now, I think staying in Kyoto turned out great, but you certainly do tend to think highly of Tokyo when you're in your twenties.
  • Ninomiya: I see.
  • Miyamoto: They would tell me that I'd get left behind if I don't follow the latest news in Tokyo, or that I'd fade out as a designer once I reach my thirties. But gradually, more so than following the newest trends in Tokyo, I began to really value doing something impossible for anyone else to do. I truly had no awareness of the rest of the competition, and I knew it wouldn't be good to get ahead of myself. I never idolised Tokyo either. Even back then, I often referred to Tokyo has "Tokyo Local", because what's popular in Tokyo is still viewed as localised to the rest of the world. They could have at least set New York as the standard, but Tokyo? Don't you think that's still quite local? Let's just settle down in a place like Kyoto if that's the case then.
  • Tezuka: I don't think there is anyone in our company now who thinks we're unable to create something new unless we're in Tokyo.
  • Ninomiya: Has it always been like that?
  • Miyamoto: Hmm... I think it might have been a gradual change.
  • Ninomiya: But you do want yours to sell the most if it for example ends up releasing on the same day as other games, right?
  • Miyamoto: That's right. But what I want most right now is for us to sell for a long time.
  • Ninomiya: Arashi is the exact same way. You can feel the strength that Mario has from being loved for a long time.
  • Miyamoto: It would be a bit excessive if we had experienced that in the past. But when I think about it, him and I have been working together for almost 30 years already. Our team is still working together even now.
  • Tezuka: Yes.
  • Miyamoto: We truly have been working together all this time. I don't think this happens often in creativity-related fields. But this was very natural, and we find it too troublesome to move elsewhere anyway, something like that (laugh).
  • Ninomiya: That really is pretty amazing, to have people at the forefront be together all this time. I'm sure your surroundings made it possible to concentrate on what you like too.
  • Miyamoto: That's right. We slowly caught onto that. They truly didn't mind if we only focused on the creation process. We were extremely blessed to have the environment we're in.
  • Ninomiya: The environment you described sounds wonderful. Um..... since this is such a rare opportunity, would you mind playing Mario with me?
  • Miyamoto: Sure. You'll be surprised to find that I'm quite bad at it (laugh). But I can more or less clear the entire game! It's amazing for someone in his fifties (laugh).
  • Ninomiya: No way! You're the one who created it after all!
  • Credits: http://say-it-again.livejournal.com/94273.html
A TEXT POST

Things I learned from Google Translate:

west: if you’re going to write a relationship between two men they should have an equal power dynamic, making one of them “the guy” and “the girl” makes them seem like a heterosexual couple!

japan: very interesting

A TEXT POST

Things I learned from Google Translate:

The ship war between Bob x Bill and Bill x Bob is more important than the one between Bob x Bill and Bill x Anne.

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parabolame:

spirkcantwerk:

shoopei:

narcolepticspaniels:

I don’t get it

omg

okay someone explain this now thank

I love how the people who know keeping blogging this without any explanation.

A TEXT POST

diarrheaworldstarhiphop:

zwirrlicht:

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mmm.. i LOVE sushi

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i love JAPAN……. period.

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JAY RAAAAAAAAAWK

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GIRUGAMESH!

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i love anime!!!!!!!!!!!!!!

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AND MANGAAAAAAA…!!!!!!!

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and GAMING!

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DDR!

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…….SMILE.DK……….

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HEY!

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サクラコンいきます!!

geet the fakku out

Reblogged from Cat Bountry vs. Earth