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:
“I could not undertake to form a nucleus of an institution for the development of infant minds, where none already existed. It would be too cruel.”
—Henry David Thoreau (1817–1862)
“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)
“A defective voice will always preclude an artist from achieving the complete development of his art, however intelligent he may be.... The voice is an instrument which the artist must learn to use with suppleness and sureness, as if it were a limb.”
—Sarah Bernhardt (1845–1923)