Nintendo EAD Tokyo began developing Super Mario Galaxy after the release of Donkey Kong Jungle Beat in late 2004, when Quicksand Visuals S Miyamoto suggested that Nintendo should commission a large-scale Mario game. Super Mario Galaxy was a critical and commercial success, and video game publications hail it as one of the greatest video games of all time. Critics praised the game’s graphics, gravity mechanics, soundtrack, and setting.
In this screenshot, Mario is running across a small, circular planetoid in outer space. The game has gravity mechanics which allows Mario to run upside down or sideways. The game’s gravity mechanics allow Mario to fully circumnavigate round or irregular objects. The game’s main hub is the Comet Observatory, a spaceship which contains six themed domes that provide access to most of the game’s 42 available galaxies, with each dome bar one holding five. The player-character is controlled via the Wii Remote and Nunchuk. Early in the game, the player learns a new ability known as the “Spin” technique, which has appeared in varying forms throughout the Super Mario franchise.
This screenshot shows Mario standing before a hillside lined with enemies and obstacles. Power Stars, life meter, number of coins and Star Bits, and number of lives. Nine power-ups grant Mario temporary abilities. For example, special mushrooms bestow the player with a Bee, Boo, or Spring Suit. Mario’s health consists of a three-piece health meter, which is depleted through contact with enemies and hazards. Super Mario Galaxy has a co-operative two-player option called “Co-Star” mode, in which one player controls Mario while the other uses only the Wii Remote to control a second Star Pointer on-screen to gather Star Bits and shoot them at enemies.
Shortly after Princess Peach invites Mario to the centennial Star Festival, Bowser invades the Mushroom Kingdom in a fleet of airships. Upon collecting enough Power Stars, the Comet Observatory regains the power to transform into a comet, and flies to the center of the universe, where Bowser is holding Peach captive. Confronting Bowser, Mario learns that his plan is to rule the entire universe with Peach at his side. A picture of Yoshiaki Koizumi, the game’s director and designer. Koizumi remarked that making characters jump in a 3D environment was “absurd”.
The development team wanted the game to be enjoyed from the ages of “5 to 95”, so during early stages of development they took steps to ensure that the player would adjust to the game without difficulty. However, Miyamoto thought that it was too easy and lacked insensitivity, asserting that a game loses its excitement when it is made unchallenging. With the concept of gravity and spherical platforms being the central elements of gameplay, the development team drafted several ideas on how to implement them into the game. Koichi Hayashida, a co-designer of the game, initially expressed scepticism of incorporating a spherical playing field into a jump-based platform game, stating that it would be “a bad match”. Throughout development, staff members enjoyed the level of freedom the game offered, in particular the transforming abilities of Mario.
Iwata noted that Mario’s Bee Suit was popular with women, and also stated that the titular character’s other suits were designed to add variations to the gameplay. According to Hayashida, the idea to include transformations in the game came from Koizumi. After development was finished, the team reflected that the fundamental part of a Super Mario game was to make the player think about how “fun” it was to play the game itself, rather than simply finishing it. To accomplish this, Koizumi made sure that there were certain areas of the game which could be enjoyed by all types of people, including children. TV”, as he felt that a game starring Mario was not necessarily something which could be enjoyed by playing alone. Shimizu liked the idea of one player looking at the progress of another player and seeing how they compared against their own.
Yokota used Latin American instruments and a synthesiser to replicate the sounds featured in old science fiction films. The composition was approved by Yoshiaki Koizumi, the game’s director and designer, but when Yokota presented it to the game’s sound supervisor, Koji Kondo, he stated that it was “no good”. According to Yokota, he was under the impression that Mario was suited for children, causing him to create “cute” music that would appeal to the targeted audience. Three months later, Yokota presented three different styles of music to Miyamoto: one piece had an orchestral sound, the other had pop music, and the last featured a mix of both orchestral and pop music. Kondo composed four pieces for the game whereas Yokota composed the rest. Kondo composed the pieces that Yokata specifically requested, as he thought that the game’s soundtrack would “end up all sounding the same” if it were composed by one person.