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The Pezman
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In Craft of the Short Story, we read a piece by Jorge Luis Borges titled "Pierre Menard, Author of Don Quixote." We were asked to write a creative response. I took the opportunity to write in the style of Borges (except more straightforward) while at the same time parodying a common trend in the VG industry. I rule.

The idea of a remake has been in existence for nearly as long as there have been video games. Even the earliest arcade games appeared on home consoles not long afterwards, and frequently with added features, including multiplayer and the ability for two people to share one controller at no cost. But as the number of games grew and technology progressed, the remakes grew more and more ambitious, attempting to preserve the quality of the original while adding in new features to enhance replayability. But what they seem to forget is that the originals sold very well and were quite popular. Fans would (and still do) replay them for ages. Remakes (both acknowledged and otherwise) became more common than new, original games.

But Nintendo’s ceaseless innovation has put an end to the problem. They realized the futility and utter uselessness of the remake as a concept, and instead have just released the original Super Mario Bros. The only difference (and Nintendo was reluctant for even this) is that it is playable on their newest console, the Wii.

Super Mario Bros was a milestone for its time, championing the genre we now know as the side-scroller and introducing concepts such as geometry-based attack (bouncing fireballs) and alternative environments (swimming levels). Side-scrollers of a more recent era attempted to increase realism by emulating three dimensions, crafting meticulously detailed models over the simple and straightforward sprite, and working in complex plots which hampered the transitions from level to level.

But the version I saw on my high-definition screen today, with every one of the original 8 bit pixels in their unaltered glory, seemed to rocket the game to even greater levels than before. Holding the Wii console in my sweat-slicked hands as I performed every jump, every stomp, every koopa shell thrust only confirmed my intuitions. Mario, after all, has gained insurmountable fame since the original game’s release. People who know nothing of video games will recognize the stout figure with the inimitable moustache. There has been game after game based on the portly plumber, and each one of them has been a landmark in its own right. But, at the height of ultra-realistic depictions of this character partnered with five-year production schedules, traveling backwards is perhaps the most brilliant thing Nintendo could have possibly done. To play as a nondescript red figure (then known as “jumpman”) running through blocked-out levels back then was one thing. To play as Mario running through blocked-out levels today causes all sorts of questions to arise. How could Nintendo, within the Mario chronology, rationalize this turn of events? But Nintendo won’t tell us, oh no. It is for the fans to decipher.

And while it was easy to shrug such a game off then as simply being shallow with little depth other than what you saw, games today are rife with inner meaning which can rival the most powerful of films and novels. To release Super Mario Bros today imposes a new set of standards on itself, and we can no longer imagine merely a Jumpman stomping on enemies but must consider the political and social questions a contemporary game like Metal Gear Solid 4 is sure to raise. And it is this which is responsible for the heightened enjoyment of the game. At times, one fears that the apparent absurdity of the game (fire-breathing piranha plants popping out of pipes, Mario holding his breath indefinitely) constrains it to the bounds of its former self, owing to the suspensions of disbelief required. But true fans can see the difference, and they wouldn’t want it any other way.

To release Super Mario Bros when they did was revolutionary on the part of Nintendo, but to release it today is nothing short of genius.

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