Geoffrey Allen B. Nuval 2/18/2003 STS 145: History of Computer Game Design Case Study THE PLUMBER AND THE HEDGEHOG: A Case Study of Two Games that Defined the Epic Nintendo-Sega Rivalry They were the Beatles and Stones of the late 1980s and early 1990s. Nintendo was the Beatles: wholesome fun for all the family, with superior artistry but a slightly “safe” image; Sega, on the other hand, was the snarling, street-smart gang, roughing it up for the hardcore videogame fans. -Steven Poole, Trigger Happy Before the battle between home videogame consoles was infiltrated by media and technology powerhouses, before the Playstation or the Xbox were the weapons of choice, before Lara Croft became a modern day Joan of Arc; two Japanese videogame titans locked horns during the latter 1980s and early 1990s in an epic fight that encompassed the world and left a multibillion dollar industry in its wake. The two camps, Nintendo Co. Ltd. and Sega Enterprises Ltd., respectively appointed icons to lead their fronts: a plumber named Mario and a hedgehog named Sonic. Through a mixture of technical, business, and cultural perspectives, this case study will give us insight into one of the most crucial points of the Nintendo-Sega War, documenting the events, decisions, and people involved with the release of Nintendo’s Super Mario Bros. 3 and the subsequent release of Sega’s Sonic the Hedgehog. These two games not only defined a rivalry between Mario and Sonic as they competed for the leading character role in the videogame industry, they also helped to create a cultural divide and intensify the greater rivalry between the once mighty Sega and Nintendo camps. 1Geoffrey Allen B. Nuval 2/18/2003 STS 145: History of Computer Game Design Case Study Background: A Healthy Nintendo and a Hungry Sega In the twilight of the 1980s, it seemed Nintendo had emerged the victor of the console wars in Japan and the United States, two of the biggest markets in the world. The company had come a long way from its humble roots as a Japanese playing-card company over a century earlier as it debuted its Nintendo Entertainment System (NES) in the United States in 1985. At this time, Nintendo already had a 90% stake in the Japanese video game market with Japan’s equivalent of the NES, the Family Computer (Famicom). A few years later Nintendo’s stellar stock performance, employee benefits, and profits prompted the Japan Economic Journal to herald it as the number one company in Japan (Sheff, 171). By the end of the decade, this dominance expanded into the United States, with one third of all American homes owning a Nintendo Entertainment System (NES), accounting for over 30 million units sold (Sheff, 5). These figures were far more impressive than any of Nintendo’s competitors and their game systems, including Sega and its more technologically advanced yet unpopular Master System. What made the Nintendo’s NES such a hit in the lucrative United States market? Was it the NES’s eight-bit processor, sixteen-color display, and three-voice sound base? Technically advanced hardware was obviously not the selling point, as the failure of Sega’s Master System (SMS) in the United States displayed. The Sega’s SMS debuted in the U.S. in 1986, boasting better graphics, sound, and peripherals than Nintendo’s NES. Though the Sega’s SMS had such Above: Sega Master System (SMS) with peripherals. 2Geoffrey Allen B. Nuval 2/18/2003 STS 145: History of Computer Game Design Case Study features as two types of cartridge entries and 3-D vision glasses, most of its games proved unappealing and unimaginative enough to draw already loyal U.S. fans from Nintendo’s NES and the groundbreaking game that was packaged and compatible only with the NES, Super Mario Bros. (SMB). In this game Nintendo had found its killer app1. SMB’s now legendary designer, Shigeru Miyamoto, had essentially introduced a new type of game that would revolutionize the industry for years to come – Miyamoto had created the side-scrolling platform genre. Super Mario Bros. (SMB) starred Mario2, a plump mustachioed plumber wearing a red cap and overalls who had earlier debuted in the hit arcade game Donkey Kong as a carpenter aptly named Jumpman. Aside from defining the genre of the side-scrolling platform game, with SMB Miyamoto had created a character that players could relate to, personalize, and grow fond of. Arbitrarily named after an Italian warehouse manager at Nintendo who resembled the character, Mario appealed to the masses because like so many of us, he was just an ‘average Joe.’ As we played SMB, we internalized the character of Mario and he became our friend – a feat no other videogame had really done before. Because we grew fond of the character of Mario in the game and since he was under our control, “we felt somehow protective, and anxious lest we cause the character harm through our own manual inadequacy” (Poole, 152). Climbing through pipes, using magical mushrooms and flowers to defeat evil, and saving the princess was not only 1 Killer app, short for killer application is used to describe software that is so popular that it drives demand for the hardware that supports it. 2 SMB also starred Mario’s younger brother, Luigi, who could be played when the alternating two-player mode was selected. All of Luigi’s features and moves mimicked his older brother’s, except for his penchant for green in place of Mario’s red. Although Luigi has lived in the shadow of his more popular brother, he recently got his debut-starring role in Nintendo GameCube’s Luigi’s Mansion (2001). 3Geoffrey Allen B. Nuval 2/18/2003 STS 145: History of Computer Game Design Case Study Mario’s adventure, it became our own. Thus began the start of the massive Mario following we now term Mario-mania. So much demand for the first installment of the game impelled its sequel to be released in 1988, Super Mario Bros. 23. This game, when released for the American Market, was actually just a reconfiguration of another game released in Japan called Doki Doki Panic. The original turban-wearing characters were simply replaced by familiar Mario characters and the game was packaged to U.S. as the second installment to the Super Mario Bros. series, void of any real Miyamoto input. Even with a very different look and feel from the original Super Mario Bros., the sequel appeased the
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