Tech Evolution: Mario Kart 25th Anniversary Special! 9 Games, 9 Consoles! - 이중 자막
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Can you believe it?
This marks the 25th anniversary of Super Mario Kart, the original pioneer in game on Super Nintendo.
Many imitators have come and gone,
but that 1992 release set the template for 7 sequels 8 if you count the excellent Mario Kart 8 Deluxe on Switch.
That's one for each Nintendo Switch.
at home console or handheld, were each proved groundbreaking in their own right.
And with one exception, all of these games targeted a full 60 frames per second too.
So what better way to celebrate this milestone than to take a look at the technical evolution of America.
In the 25 years since its inception, the series has clearly come a long way, but how did we get from this?
First, let's look at the original Super Mario Kart.
Released in Japan on the 27th of August 1992,
nobody could have predicted the success Super Mario Kart would go on to have all the legacy it creates.
Technically, we'll
looking at a humble beginning in some respects, with the Super Nintendo relying on its 2046x224 output mode to CRT screens of the day.
It of course most famous though, alongside F0 for its revolutionary use of Mode 7 graphics.
A lot's been said of this technique, but this was a landmark title for off what it could do.
And it's hard to miss Mode 7.
and credit a pseudo 3D look in SNES titles by rotating and scaling a background layer on top of 2D sprites.
These visuals may look primitive today, but it gave Super Nintendo a huge advantage over the competition at the time, notably Mega Drive.
So much of this was helped by the fact the rotate and scale operations were handled natively on the Super Nintendo console,
meaning no on the cartridges was needed.
Two picture processing units worked in tandem,
taking live 256x256 texture map tile and shifting the perspective from the conventional top-down view to a more dynamic side angle.
It creates the floor to Maricart's maps and once 2D sprites are planted on top,
it gives a convincing illusion of 3D space using flat surfaces.
In other words,
but the game didn't have to play from a scrolling bird's eye view as we had with micro-machines on the Mega Drive,
and for once the entire race track was in sight.
This meant big things for Nintendo's mascots.
At last we could see characters' faces from the front, side and back, as they zipped around the track.
In terms of the stats, that amounts to 12 sprites in a half rotation from Mario.
while the other half is mirrored to create 22 in total.
From that, Nintendo used three different sprite sets to factor in each character's distance from the camera.
Crucially, it all meant approaching a corner or bend gave a sense of depth perception, missing from so many races in the 16-bit generation.
It wasn't perfect.
Jumps in sprite size can be jarring, and coins are only represented as marks on the map tile.
But really, the technology helps Super Mario Kart set itself from racing games of the era.
One last curious aside before we move on, due to the way Super Mario Kart's engine was built, the only played in split-screen.
Now, the idea here is that Super Mario Kart was optimized as a two-player game first and
foremost, and so the horizontal split stayed even in the single player mode.
In eyes,
if Zero had been pitched as the faster single player racer to use Mode 7 graphics, a launch title for the console in Japan.
But without a specific engine re-write from Maricart's solo play,
it left us with only a circuit map on the lower half of the screen.
It's a focus on multiplayer that really set a precedent for how Nintendo saw the series going.
Ford.
Super Kart was and still is a special game and plays beautifully to this day at a faultless 60 frames per second,
even in two player.
The handling is still spot-on and even with the quirks of its pseudo 3D engine,
the game has an air of timeless charms shared by many of SNES' best games.
This wouldn't be the last Mario Kart to use mode 7 though, on the home console front at least, Nintendo had much bigger plaids.
It took four years before we saw a true sequel,
but as far as technology was concerned, its 2D trickery on SNES was on the way out to finally be replaced with true 3D rendering.
To achieve a true 3D America,
we needed a new generation of hardware,
and to the Nintendo 64, a system designed to replace the two 2D pixels of the past for a future built on polygons.
Super Mario Kart 64 played to the strengths of its 3D hardware perfectly.
Environments now had height, with structures like castles, heels and bridges rising from the ground.
The track layout also evolved.
Pathways could now spiral up and down in incline, with deformations and bumps adding new dynamics to the race.
And at last, coins and crates could finally be rendered as full objects, visible in the distance.
The impact 3D rendering had on Maricar was a game changer.
We'd gone from an entirely flat rotating texture to a fully fleshed out world, almost like pulling open a pop-up book.
It's arguably the biggest technical jump in the series' history, and the choices made in now.
1996 had a lasting effect on every game since.
It brought a few series firsts in other areas, voice sampling was added for all the characters.
On top of that,
it even made a jump from two players to four players split screen, which again became a staple for the series on console.
Now speaking,
Maricart 64 marked a big departure in style 2,
the bright cartoonish primary colours of the SNES original were ditched, and in came a more mature palette of muddy browns and dark greens.
It's not a style that stuck around in later games, and in many ways it was a boast of Nintendo 64's impressive 3D rendering.
We got hardware transformation and lighting across perspective correct textures, again helping to give Maricot 64's tracks a more realistic look.
We also had alpha transparencies for smoke, dust, fire, sparks, and background scenery like bushes.
Graphically, it was a revolution in the console space, but as a Mario Kart game, it's almost unrecognisable to the original.
For Nintendo, it clearly a time of experimentation.
Even with Nintendo 64's muscle in 3D rendering though, it still hit big technical limits.
A great case in point is the use of level of detail management to control the number of polygons rendered on screen.
The result was Object Popping,
a method of culling polygons from the scene past a certain distance, but crucial for keeping the frame rate in check.
Another limit came from N64's limited texture cache of 4 kilobytes, which wretch blurred look.
Armed with basic bilinear texture filtering 2 and a basic blur past the tree aliasing on that 320x240 image,
it certainly sticks out as a game of its time, but all these are telling signs of a quintessential N64 release.
It's slightly more flattering to see it on the Wii Virtual Console at least,
and here I'm running out of lock 30th PS with a quarter.
droopled resolution of 640x480.
Even so, it's a credit to that early phase in 3D console game development, even if technically, Nintendo couldn't realise this fish entirely using polygons.
It's true,
in playing Maricot 64 for the first time,
it doesn't take long to spot that only the environments are true 3D, while characters are advanced sprites.
In this one sense, you could call it a direct evolution of Super Maricot.
Looking at Maricot's sprite, for example, we go from 12 unique sprites in a half-rotational SNES to 34 on N64.
The method has changed on N64 though, with the restarization technique being used here rather than straight 2D.
In effect,
this is similar to the method of Donkey Kong Country,
letting Nintendo render high quality 3D models of each character offline, before turning each model into a 2D sprite from each angle.
Paired with full 3D backgrounds, it gives the game a unique look.
However, it's fair to say these 2D sprites don't hold up too well today.
Characters appear blurry if you get too close,
and even with more sprites to work with, each one during a camera pan is still quite jarring.
The sprite work is still far more nuanced than the SNES original though,
not only do sprite sets vary by distance, but also the incline of a road, plus a separate 32 frame animation for crashes.
Clearly, this was not an easy process, but taking the 2D root for characters freed up more polygons on the N64.
which in theory meant a bigger budget for track detail.
Even with this workaround, Super Mario Kart 64 did have performance problems.
To this day, it's the only game in the series too technically cutting edge to target 60 FPS in single player.
Instead, Nintendo opted for a 30 FPS target and even then it struggled on complex tracks like DK Jungle Parkway.
So, Super
So, here's what's
we have genuine N64 captures running through our tools and it's tempting to imagine how
the game could have performed with full 3D models as well.
The performance tends to stick at 30 for a lot of the race but the drops to near 20 FPS are jarring.
And really that's something that only intensified with more players in split screen.
In fact it's contemporary Diddy Kong racing a few years later shows the other path with true 3D character models.
Inevitably we saw harder sustained drops on tough circuits there and really showed a hard limit on how far the N64 could be pushed.
But really these are nitpicks next to Nintendo's raw achievements here.
After the breakthrough of Super Kart,
Mario Kart 64 seemingly reinvented the wheel to suit the needs of a new console,
and that shift to 3D, forever, changed our expectations of the series.
It is funny then that the next Major Maricott return to 2D sprites.
The next Major release Super Circuit released on the Game Boy Advance in 2001,
but serves as more of a tangent to the series line, and it's called This is a Spiritual Successor to the Series.
Super Nintendo original, involving its Mode 7-style graphics engine.
It even featured all the original games' levels in a retro section, but leveraged the handheld's power to enhance them.
So what does that mean?
Well, texture quality improved massively, item boxes were rendered as full sprites, though coins remained as flat textures on the floor.
We even got more detail,
more tree sprites, enemies, pipes, and up to three scrolling parallax layers for the background, up from the basic two layers on SNES.
The only downside is the lower native res of the Game Boy Advance compared to SNES's 240P,
but on the other hand, the screen real estate is fully used here, and obviously it doesn't rely on a forced horizontal split.
Unlike on SNES, all the pickles here have been used to show the game action.
Another neat enhancement is in sprite animation.
Now this varies by character,
but Mario gets a decent jump,
from the 12 sprites in a half rotation on Super Mario Kart to 25 in Super Circle on Game Boy Advance.
Overall, the characters have more gradients to work with during a 360 turn.
For replays, it just pan motion to the camera.
Excepting that most parts of the game are upgraded in a super circuit, one aspect did take a step back.
Compared to the 60 FPS playback on Super Nintendo, the Mode 7 graphics only technically run at 30 FPS on Game Boy Advance.
To be clear, all characters update at the full 60 FPS with a new sprite per frame.
Similarly, all the trees in the background update at 60 FPS too, and that includes the parallax scrolling background layers.
Strangely though, the rotation calculation on the track itself is cut down to a straight 30 FPS.
Given that the area with arguably the most movement is cut to half refresh like this, it's definitely a downgrade in playability from the original.
And it's certainly not an exceptional case on Game Boy Advance.
Kanami Crazy Racers, a similar mode 7 style racer also released in 2001, had a similar issue running at a true 60fps on the handheld.
This was a decent riff on the same concept, but in this case, Game Boy Advance updates everything at 30fps.
Kanami's approach is much stricter, but tried to create an illusion of 60fps simply by alternating between tracks.
track rotation and then the sprites on screen.
For Maricot Super Circuit overall it gave the series 2D graphics a final farewell in many ways enhanced for the small screen.
From here on out though both consoles and handheld had the ability to push full 3D with no compromise.
For anyone itching to see a true 3D successor the GameCube came and delivered with Maricott Double Dash.
With its vastly upgraded texture memory and GPU clocks, Nintendo pushed out a full 640x480 picture from the machine.
On top of that, we had more advanced character animations, lighting and even post effects like Depth of Field.
And most crucially of all, the still rendered all this at a flawless 60 frames per second.
It's clear the series trademark visual style has started to form in Double Dash.
Gone the harsh textures and block environments of Maricart 64,
and aesthetically, it blended advancements in 3D with a move back to a colourful cartoon cell shaded style introduced on SNES.
Direct with earlier games are tricky meanwhile, Double Dash is unique for avoiding the retro circuits entirely.
And we get entire fresh slate of courses, plus a unique mechanic putting two players in the same car.
But above all else, the revolution in Double Dash was in its multiplayer features and performance.
We'd already gone from two to four players on the last two Nintendo consoles,
but in a single generational leap, GameCube now offered 16 player races across a local network.
At the time,
it was unprecedented, and even with full players in split screen, the game engine still managed to run at 60 frames per second.
Given shaky sub 30 FPS drops on the 64,
this was a real breakthrough, finally cementing a 60Hz refresh as the standard for the series going forward.
And it makes sense too.
Running at 60 FPS fit the design ethos of Maricopa.
Gp1 and 2,
which ran in arcades using the same GameCube engine, but sadly holding that target just wasn't to be given in multiplayer for later games.
Returning to handheld, the Nintendo DS received its own signature America that again defied expectations of a forceball.
What we had on DS was an enhanced 3D version of the new Nintendo 64 release in many respects,
this with online play and split across two screens.
There's no competing with Double Dash,
and again, this is something of a tangent from the console line of games, but still fascinating in its own right.
Next to the N64 release in 1996,
it showed just how far handheld technology had come in nine years,
with the DS's five 512-kilobyte texture memory,
for example, it could allow textures up to 1024 x 1024 in size, a huge leap from the 32 x 64 maximum on Nintendo 64.
It helped avoid the blurred smear on the game's 3D stages, but sadly, there is a downside.
The DS version only uses point texture filtering, a step back from even the murky bar limit.
the approach used on N64.
All of which meant DS produced a rougher, more pixelated effect on distant textures, though on its smaller screens it wasn't too glaring.
It's remarkable how much bit into the DS version's 33MB ROM.
Much like Double Dash, it fully polygonal 3D models for characters and items.
Again, a big advantage over N64's sprite work.
Though to keep that 60PS target in check, level detail culling had to be aggressive for upcoming geometry.
All told this was an impressive release,
while the DS had a strict limit on poly counts, it worked around them to deliver a great 60PS rendition of the game.
It introduced dual screen views, letting the secondary Arm 7 2D processor usually leverage for handling games.
Game Boy Advance back and pat,
hand lay top down map on the lower screen, all of which left the top 192P screen to handle the 3D.
Maricott's biggest revolution may well have been its online play,
but visually it showed the handheld version's edging closer to the standard of the home console.
For Maricott, we, Nintendo use one's essentially higher clock game.
GameCube hardware to improve the formula once again.
Inevitably, there's a sense of diminishing returns across each generation, but Wii's refinements were worthwhile.
Compared to Double Dash,
the benefits were small but numerous,
massively improved post-effects, including bloom lighting, lens flare, and the team also reduced the overbearing depth of field from the last game.
Touch-a-quall.
and filtering also took a noticeable jump over Double Dash, while character models pushed a visibly higher polycount on Mario and company.
But clearly, this was meant as a revision of the existing GameCube engine.
Even levels like Peach Beach are more or less direct transplants from that version.
Wii's IBM architecture had a clear overlap with GameCube's, but even so.
Nintendo did include a few enhancements to sweeten the deal.
The textures and dimensions of Peach Beach were preserved of course,
but now with extra decorations, like new piano folk watching the race from the flanks.
Of course the new maps pushed the hardware even further,
tracks built from the ground up and we give a better sense of the machine's capabilities,
even if unfortunately still stuck at 480p as the machine's best output.
The one catch,
as you can expect,
single player runs at 60 frames per second,
but it's at this point that Nintendo began forcing 3 and 4 player games at a half-refreshed 30fps.
From 3DS onwards,
Mario Kart's identity as a 3D razer had more or less settled,
looking at a little bit level like mushroom gorge, 3DS' visuals are surprisingly close to the Wii version from a few years earlier.
As a handheld version, this brought a serious package to the table.
In many respects, this marked a huge leap over the GameCube version and broached what was currently possible on home console.
But the big addition for 3DS 1.
It so much the quality of its textures and effects, but arrival of stereoscopic 3D.
Outputting to 400x240 viewpoints at 60 frames per second is no small feat,
but this is exactly what Nintendo EAD achieved, and the results have a huge benefit on a racing game where depth perception is crucial.
The logical comparison is with Mario car DS of course.
Really though, by this point, it's clear the rates of improvement on Nintendo's handhelds was much faster than on the console front.
In 2011, Maricart no longer felt constrained by handheld technology, but strengthened by it.
Even at a lower resolution, the visuals and level design gave the impression of a major release, deserving a numbered title.
circuit, which felt like an offshoot in the series' evolution, this was the next major step.
It also gave the stereoscopic 3D effect a chance to shine, something sadly put aside for the latest game.
As the last numbered entry in the series, Maricart had it all.
At last, Wii U let us push past the resolutions on Wii, catapulting us up to 1280x720.
In terms of the engine design, the and the track layouts, this had all the marks of an enhanced console version of Maricart 7.
The game added anti-gravity racing segments but kept the verticality of the flying and swimming sections.
And if we look over comparisons against 3DS stages, there's no question every area is optimized for Wii U.
From textures to effects to the geometry, in terms of higher tracks like DK Jungle are overhauled.
What you'll see here is actually the Switch version rendering at 1080p,
but the core assets and everything for size are the same as what we had on Wii U.
Maricar 8 and Wii U looked incredible and still found ways to outshine the Wii version.
However, it also continues a few unfortunate trends for the series.
Textured filtering still on a simple bilinear approach, causing cascade lines to appear on the ground.
Another gripe here, no anti-aliasing whatsoever, meaning Wii U pushes a sharp 720p image lighted by pixel crawl.
Otherwise, graphically, Marikai 8's superb artwork helps put it at the series peak.
The style of Marikat's visuals and mechanics blended together perfectly, but was by this point, and really, this is Nintendo EAD firing on all cylinders.
From the underwater races showing off its new shaders and screen space effects to the rapid hang gliding, it's simply a joy to play.
Again, 3-4 player races force a 30 FPS cap, but for once we can take two players into an online game.
The only thing missing was a full-fledged battle mode,
which Nintendo address three years later on Switch,
all of which brings us to the modern day,
with the Lux taking possibly the pinnacle of the series and refining it again at a native 1080p.
And what's more to say, for the Switch version the defining feature really is that flexibility to play games however you like.
Maricar 8 Deluxe marks the point where handheld and console games at last converge.
25 years and seen the reaction of someone had it a switch with this running.
Looking back on the series as a whole, it's staggering to chart Maricott's progress across a quarter of a century.
Maricott 8 Deluxe may be a current favourite and unmatched in content,
but each game leading up to it brought something major to the table,
from Mode 7 graphics to a polygonal 3D to online play right up to rendering at a full 1080p.
The series is involved with each step, which makes you wonder what's left for a potential Maricott 9.
Gameplay innovation over graphics is Nintendo's mantra,
but with the lux being a straight conversion from Wii U, it's tempting to imagine what Switch could do with a dedicated entry.
Anyway, that's enough from me.
A big thank you if you may it all the way to the end here.
I've been interested to hear your thoughts on the series so far and what you think a new Mario Kart game could add.
As ever,
like and subscribe if you enjoyed this analysis and remember to check out our Patreon at Digital Foundry
for the original source files for this video.
But until next time, thanks for watching.
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