NSMBU is selling poor because the console is selling poor. This is the main reason why it's not keeping others' pace. The second being it was released on launch and not while there was a 50 million install base.
Let's also keep in mind that this is the first Mario for a home console that's available for download (of which sales can't be tracked). I know digital sales of that game are probably only a fraction of retail purchases, but no one seems to be mentioning it.
OT: I think you're really underestimating the minds of most consumers and thinking too much from a hardcore gamer's perspective. You're also discounting the feature of co-op in a 3D Mario game for the first time ever as a big selling point.
burninmylight said: OT: I think you're really underestimating the minds of most consumers and thinking too much from a hardcore gamer's perspective. You're also discounting the feature of co-op in a 3D Mario game for the first time ever as a big selling point.
Well, if we look at it from a casual perspective, NSMBU and the Wii U itself don't seem to be captivating them at that moment, and casuals prefer 2D Mario to 3D Mario. I'd say they're probably in fatigue of this kind of Mario, (the plastic NSMB style) as this will be the 4th in two years.
A full games worth of levels that from what we've seen so far look like generic, up-res'd 3DS levels.
The orchestration vs midi situation is indicative of a bigger problem; that the Nintendo spared no expense with the Galaxy games, but seems to be shitting this game out with the bare minimum of effort, risk, or creativity.
You didn't sell me anything it's obviously Gusty Garden.
It's pretty hard to judge a game on effort and creativity based on a couple of early levels, unless you believe that this is nothing more than an audiovisual matter. There's definitely a lot of risk involved with this game, because Nintendo is going against the expectations of many gamers. Super Mario Galaxy 3 would have been the game that plays it safe, this one is not.
It's the resemblence to the early levels to 3D Land that makes it a good chance the rest will play out the same way.
This approach isn't a risk, it's the same approach as NSMB, NSMBW, NSMBU, and 3D Land; 4 of the last 6 Mario platformers. A risk would have been something NEW.
NSMBU is selling poor because the console is selling poor. This is the main reason why it's not keeping others' pace. The second being it was released on launch and not while there was a 50 million install base.
Let's also keep in mind that this is the first Mario for a home console that's available for download (of which sales can't be tracked). I know digital sales of that game are probably only a fraction of retail purchases, but no one seems to be mentioning it.
OT: I think you're really underestimating the minds of most consumers and thinking too much from a hardcore gamer's perspective. You're also discounting the feature of co-op in a 3D Mario game for the first time ever as a big selling point.
Nintendo is very pleased with their digital sales. I think we can safely assume 15-20% are digital.
Mensrea said: I don't understand the love for 3D land. That was a shitty excuse for a 3D mario game. It was so linear, bland, and easy. There seemed to be really no ideas going for it, and it was based on the 3D gimmick. To make a sequel to that game which was designed for a short sessions on a handheld that could display 3D, and was also terrible is really really disappointing.
Did we play the same game, or shall I post YouTube videos of my favorite 3D Land levels?
We played the same game, the second I beat it I sold it. Post away. I liked a couple levels, but the majority of the game to me sucked hard.
I have the ability to say nice things about nearly every level in the game, but I don't have the time.
My favorite level of World 1. The level is basically set up like a downward slope, which becomes more precarious the closer Mario gets to the flagpole. Also one of the first levels in the game to really put the Tanooki suit to good use. Objectively good design, because the player can tell how far he is from the flagpole, and can literally see the level's own difficulty curve.
It's harder to pick my favorite level from world 2 (world 2-3 in particular is cleverly presented and very nostalgic), but there can never be enough reversible platforms. These add a nice puzzle element to the usual gameplay, where the player needs to plan his jumps. This is also another example of how difficulty ramps up over the course of the level, going from a single platform to incrementally increasing amounts.
World 3-1 is very nonlinear. The training wheels are off, and now it's up to the player to decide how to reach the top of the stucture. There an obvious path, but it's not necessarily the safest, either. A little exploration will reward the player with the Propeller Block, which with some skill, can let the player bypass the level. Several levels, in fact, have shortcuts that can be utilized with a combination of items and skill. One water level is almost entirely skippable if the player has a Tanooki suit. These are signs that the game was built with speedrunning in mind.
World 4-2 is a very unusual underground level, because it's vertical in nature. The focus is on finding the proper path upwards, which often entails hitting a "!" block first. It's also not heavy on platforming, but instead encourages players to take advantage of the angle through squashing goomba towers and using bouncy platforms to grab floating coins. In some ways, this is like a "fun house" level where the focus is on screwing around, unless the player is speedrunning. Then it becomes a matter of using the layout to your advantage in very different ways.
I don't have all night, and though I haven't mentioned my favorite level in the entire game, the Beat Blocks levels deserve more recognition. Obstensively combining rhythm and platformer game design, these levels are about timing above all else. They also contribute one of the soundtrack's gems - the mininalistic tune one must jump in accordance with. For me personally, this is a point where I began to really appreciate the level design and its creativity. The levels are short to the point where I miss experiencing the driving concept behind them, and be pleased when a later level builds upon it even more.
Then there's the Special Worlds, where the bulk of the challenge lies (in getting all the Star Coins). Many of them are remixed versions of normal world levels, which alleviates some of the difficulty. Then there's the secret level of pain and frustration. And the Ghost Houses, which are typically mind-bending. The forced-scrolling airship levels were well done, too.
