So, you’ve clearly put in a lot of effort to craft the unique visuals and setting for this game, but I’m curious about how you approached shaping the gameplay and storyline, which are really the heart of any game.
Fukushima: When we first started conceptualizing the core gameplay, Acquire came up with a really intriguing idea that got us excited from the get-go. It was something along the lines of having a personalized Mario adventure that takes place on drifting islands. We had them create a prototype based on that spark of an idea.
Ohashi: I found the concept of drifting islands particularly fascinating. The idea of discovering new islands, embarking on adventures, and forging friendships with the inhabitants was thrilling. Connecting these islands to expand your group of adventurers felt like a fresh and exciting gameplay dynamic.
Otani: You know, I must admit, it was quite a novelty. During our brainstorming sessions at Nintendo, nobody thought of something quite like it. (Laughs) The notion of linking different islands isn’t a concept that typically comes to mind.
Ohashi: That being said, it took quite a bit of time before we nailed down the "Mario & Luigi" vibe that we were aiming for. Because of this, developing the drifting island mechanics took a back seat for a while. I can imagine it might have made Nintendo a bit anxious, as it took us some time to present solid ideas on how this gameplay would unfold.
Otani: I’ll be honest; the wait was a bit tense. Fukushima-san and I were often wondering when Acquire would finally reveal their ideas. (Laughs)
Fukushima: However, we had faith in Ohashi-san because he’s quite methodical; he thinks things through before providing answers. Despite that, we did have a fair number of meetings internally to determine how long we could afford to wait. (Laughs)
Ohashi: In this game, Shipshape Island acts as the main hub for Mario and his crew as they venture across the sea. This island journeyed across vast oceans, encountering various other islands for new adventures. However, figuring out how the mechanics of this island’s travels worked took some time.
Fukushima: Ordinarily, we decide on the gameplay and story direction fairly quickly at the beginning of development, and then we refine the details as we go. This time, however, it dragged on a bit longer than expected. As we worked on the battles and exploration actions, many aspects remained up in the air. Things like Shipshape Island’s drifting system or the overall scale of the game, including the number and theme of islands, were a bit elusive for a while. It was a lot to handle.
Otani: Plus, there was a significant contrast in our development methods. In this series’ previous installments, the gameplay was usually developed first, followed by creating a storyline to match it, with the director leading the charge. But with Acquire’s style, Ohashi-san focused on the drifting islands gameplay, while simultaneously, an external writing team developed the story. However, since this is an RPG, the gameplay and narrative needed to mesh seamlessly to truly progress.
Ohashi: The story writing team also struggled to grasp the right "Mario & Luigi" feel for the storyline. They had difficulty devising a coherent plot.
Eventually, though, you did have a breakthrough, didn’t you?
Ohashi: Absolutely! I remember when it clicked for us. We sat down to brainstorm the overarching plot and decided to assign themes to each sea. For example, the first sea revolved around "family," the second around "friends," and so forth.
Fukushima: Yes, that’s when everything began to align. The idea of "connection" became central—not just in terms of linking islands but also in weaving the relationships between the inhabitants of these places.
