Development
A sequel to Super Mario 64 had been in the works for several years; the cancelled games Super Mario 64 2 and Super Mario 128 were some ideas Nintendo had for a direct sequel. Super Mario Sunshine was first shown at Nintendo Space World 2001. The game was later shown again at E3 2002.
In an interview about the development of Super Mario Sunshine with producer Takashi Tezuka and directors Yoshiaki Koizumi and Kenta Usui, it was mentioned that the game's development began with the idea of gameplay involving a water pump. However, at first the developers thought that the world was too daringly out of character with Mario. Therefore, they tried using a man-type character, but thought this was too odd and that "if there was a man next to Mario, there is a sense of incongruity." There were ten candidates for possible water nozzles, and FLUDD was chosen because of fitting in the game's setting, despite it not being one of the favorites. Some preliminary gun-like water nozzles were removed due to all the controversy in the United States. They also stated that several Yoshi features were omitted, such as Yoshi vomiting juice fed to him.
Koji Kondo and Shinobu Tanaka composed the score to Super Mario Sunshine. The soundtrack features various arrangements of classic Mario tunes, including the underground music and the main stage music from the original Super Mario Bros. Super Mario Sunshine featured many of the usual voice actors for the various Nintendo characters. This is the only Mario game which features full English voice acting in cutscenes. The voice cast consisted of Charles Martinet as Mario and Toadsworth, Jen Taylor as Princess Peach and Toad, Scott Burns as Bowser, and Dolores Rogers as Bowser Jr. Other voice actors included Kit Harris.
Read more about this topic: Super Mario Sunshine
Famous quotes containing the word development:
“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)
“For the child whose impulsiveness is indulged, who retains his primitive-discharge mechanisms, is not only an ill-behaved child but a child whose intellectual development is slowed down. No matter how well he is endowed intellectually, if direct action and immediate gratification are the guiding principles of his behavior, there will be less incentive to develop the higher mental processes, to reason, to employ the imagination creatively. . . .”
—Selma H. Fraiberg (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)