Development
The game was produced by Gunpei Yokoi, who previously produced Donkey Kong (1981), Donkey Kong Jr. (1982), Mario Bros. (1983) and Metroid (1986). It featured music written by Hirokazu Tanaka, who also composed for Duck Hunt (1984). Hiroshi Yamauchi, then president of Nintendo, wanted a Mario game to be on the Game Boy, and ordered Yokoi to create the game with his development team, Nintendo Research & Development 1. This would be the first original portable Mario game since the others made for the Game and Watch. This would also be the first Mario game developed without Shigeru Miyamoto, Yokoi's protege and creator of Mario and The Legend of Zelda. Early in conceptual development, they decided to recreate the classic gameplay of the 1985 original in new worlds that took Mario far from the Mushroom Kingdom. It seemed like the perfect title to help sell their new system. Yokoi's take on Mario helped the Game Boy surpass the NES as Nintendo's best selling platform, and the game itself just surpassed Super Mario Bros. 3's sales figures.
Initially, Nintendo planned to package Super Mario Land with the Game Boy, but decided to package Tetris instead at the insistence of Henk Rogers, who convinced Nintendo of America head Minoru Arakawa that a Mario title would only sell the Game Boy to young boys instead of everyone. This was the first game that released for the original Game Boy.
Read more about this topic: Super Mario Land
Famous quotes containing the word development:
“If you complain of people being shot down in the streets, of the absence of communication or social responsibility, of the rise of everyday violence which people have become accustomed to, and the dehumanization of feelings, then the ultimate development on an organized social level is the concentration camp.... The concentration camp is the final expression of human separateness and its ultimate consequence. It is organized abandonment.”
—Arthur Miller (b. 1915)
“For decades child development experts have erroneously directed parents to sing with one voice, a unison chorus of values, politics, disciplinary and loving styles. But duets have greater harmonic possibilities and are more interesting to listen to, so long as cacophony or dissonance remains at acceptable levels.”
—Kyle D. Pruett (20th century)
“And then ... he flung open the door of my compartment, and ushered in “Ma young and lovely lady!” I muttered to myself with some bitterness. “And this is, of course, the opening scene of Vol. I. She is the Heroine. And I am one of those subordinate characters that only turn up when needed for the development of her destiny, and whose final appearance is outside the church, waiting to greet the Happy Pair!””
—Lewis Carroll [Charles Lutwidge Dodgson] (1832–1898)