Why Do We Remember Super Mario Galaxy (So Well)?

Super Mario Galaxy shouldn't be that important to me. I don't think I played it much as a kid or at least not as much as a lot of other games my family had on the Wii Mario Kart Brawl Wii Sports Wii Sports Resort Mario Party 8 Super Slackers hell Mario Sports Mix, a game where you kill a Final Fantasy boss with a volleyball. I only

remember

beating Galaxy in its sequel once, without even completing them, and yet every time I

remember

it, I think about that part. Growing up, this game has always stood out to me more than all the others and I like why I'm not alone here.

Almost everyone I asked who has played this game, even a little, seems to have very strong memories of some feeling, moment, or something. so I want to see what makes this game special and I think the first part of this puzzle is something you may have considered before this game is strangely similar to Super Mario 64, from what I understand they are both mainline Mario games, but only from the beginning. four games released in this time range, we can see how different a Mario game can be, new Super Mario Bros for DS and like all sequels, which are basically the same game, we can consider a continuation of the first Super Mario Bros here .

It's Mario, there are platforms here, jump on them to reach the end of the stage, there is no immersion here, although there are different aesthetics in these Mario games, some more different than others, this is not a world you can really understand. lost in whether all the blocks are tiled, the user interface eternally present on the screen or simply the fact that it is 2D, the world of these games is somewhat abstracted by the aggressive video game of it all, in contrast, Super Mario Sunshine throws Mario to Jail Super Mario Sunshine is possibly the most developed and consistent world in the entire Mainline series.

I mean platforming, RPGs don't count, the gameplay is strangely consistent, the Mario franchises had an obsession with isolated aesthetics for their entire existence, things would be neatly separated into worlds and subdivided into levels, all with their own distinct music blocks, trick enemies, while there are some consistent looks between games in the franchise, that feeling of isolation was almost always there. Super Mario Sunshine in comparison, I'm Delino in almost every level of Biano Hills. to NOK Bay to P Village takes place in the same world in the story and it seems like there is a story in this game like an honest to god story, there is voice acting, this is one of the only main games where falling is not the biggest threat.

Most of the time, because this game takes place on a real planet that doesn't consist entirely of cliffs or a void beneath you, there are stages that look like older Mario titles, but are aggressively removed from the rest of the game. the story with Mario goes through a Smoke Dimension to reach them. The music in these levels is stripped acapello to make it simpler than contemporary areas, but the gimmick that makes movement special for this game is occasionally stripped from you entirely, leaving a clear statement that This is not Super Mario Sunshine. This is something extra added to remind you of the old experience.

Super Mario Sunshine is when your fake jetpack dies when Mario makes this face when Peach says real words when he has a butler named Toadsworth and he is this. old and cute, this game is the closest thing to a main story based Mario that's ever come out as if it weren't a movie, it's still 95% gameplay but Mario is jumping around a consistent world instead of one without context. Super Mario 64 also has a story line, technically, you receive a letter from Peach at the start of the game and you can occasionally read signs and talk to toads, getting actual dialogue from bosses and other NPCs.

These creatures that would normally be seen as simply obstacles in some of the other games are given more personality and while 64 aesthetically uses the same idea of ​​a bunch of isolated worlds, it's all canonically linked through the Hub World, these aren't levels. , his paintings and that small change in perspective adds to the immersion of the experience. Super Mario Galaxy has a looser story than Sunshine, but still very real, of why you are here and jump around, use a hub world to connect and fly to several different isolated galaxies, all with their own different aesthetic, collecting stars with in order to unlock more and more. station and eventually gain enough energy to travel to the center of the universe to save Princess Peach, while there are star thresholds you must meet in order to progress, you have relative freedom in which stars you choose to obtain and in what order you obtain them.

You can re-enter the worlds multiple times in search of new stars, and each re-entry will take you through a new iteration of the level's ideas and themes; However, what you also need to understand about Galaxy is that it's really nothing like Super Mario 64. While the games have many similarities on a surface level, 64 largely defined the solid foundation of what a game should be. of Mario in 3D, while Galaxy is one of the strangest and most experimental Mario games ever released and the strangest part is that it is kind. It's hard to notice that fact, let's start with the movement.

Don't kill me when I say this, but the movement in this game sucks. I didn't really realize it until I replayed the game for this video, but the difference between something like Odyssey or 3D World in this game is practically an entire universe because it's a space game. Mario's movement at its finest works a bit like learning a language. You start with these basic elements, move and jump and start finding variations. Long jump. Lateral jump. Squat jump, Dips, kicks, floor pounds, wall jumps, you start combining them, from I can jump on this ledge to I can turn sideways on a wall, jump to jump this whole section to whatever, all and each of the levels of the section become even more intertwined.

Complex movement options become so natural that you hardly need to think about it. By the end of the game, you can speak this language of movement, easily moving from consciously considering what to do to measuring your chances of doing it by thousands and thousands. Over hours, speedrunners become fluent, the movement of the game as much an extension of themselves as their actual native language; in fact, maybe even better considering some of the ones I've seen make the best Mario game with this kind of feel, in my opinion, are Odyssey, although the movement options are a bit tame in other games for the most part. of time, as varied as his default moves are the addition of the hat and odyssey was made for the explicit purpose of move combinations, it's so easy to flow with it that I'd honestly call it broken, but the focus of the game is so focused on the movement and collection rather than an intense challenge that only serves to enhance the experience.

The sublime of mastering this language enough to bypass the actual intended level design is not something to be sneered at, it's great. Fun is not only open world in terms of the map layout, it's open world and how you can choose to traverse it in comparison. Super Mario Galaxy is kind of the idea of ​​combining moves in Super Mario Galaxy is practically non-existent. The important thing is to chain together long jumps, but it becomes actively difficult to do so as you have to wait a bit if you want to change direction and even then this move is not useful for more than two long jumps in a row without you knowing the route.

Before long, half your moveset seems to kill all of your forward momentum when you land, as

well

as almost any sudden change in direction, and each maneuver has more start and end lag, making it much harder to recover from. of bugs, while Sunshine Speedr races are a constant barrage of complicated movement patterns, crazy tricks, and game-breaking glitches. Super Mario Galaxy 1's world record, while impressive, doesn't seem all that striking. The fastest way to move is often just running without any other tricks due to gravity. the smaller planets punish jumping and the rest of the race consists mainly of long jumps.

The skill expressed in the game is not achieved through intense inputs of precision but rather reliability by taking all of these rather unwieldy movement options to manage to pull it off every time you can't. he pushes the game's movement too much because he actively rejects the idea of ​​doing so. The unique move option added to Mario's repertoire in this game is a Spin Attack given with the help of Aluma. Well, it's a useful movement option, the only time it really adds. For a move is when you go up, which makes vertical movement often easier and faster than horizontal movement.

In this game, the main purpose that platforming actually serves is not as a way to combine and follow moves, but to fix mistakes while lifting. You Higher also cancels all lateral momentum and is often the only move you can make to interrupt the last one you made. It's an eraser, a way to correct excessive jumping or incorrect inputs, and it turns even this single

galaxy

-specific movement option into something methodical. Movement in this game is a matter of careful step-by-step planning and, as such, placing the majority of how you express your skill in how you handle the level itself.

If there is one word to define Super Mario Galaxy's level design, it is linear, many galaxies. They consist of one set goal after another, many of which require platforming, but just to fulfill that unrelated end goal, almost every level in the game is a sort of predefined roller coaster with set moves and ideas and executions of them in Super Mario. 64, they tell you it's a star. is here and to get to it any way you can to win in Super Mario Galaxy, you are provided with a checklist of tasks that you must complete before earning the right to reach that final planet, one of the most interesting consequences of this linear game.

For me, the design philosophy centers around the idea of ​​universal rules when it comes to mechanics in games, there are a few that always work in specific situations. This is a painfully simplistic example, but in general, if something isn't a wall or ceiling, I guess you can walk on it unless otherwise stated, this sounds stupid until you realize that the world design of almost Every video game desperately tries to avoid landing angles of approximately 45° to 75° in that area, unless the game's movement is specifically designed. around is actively avoided because it confuses the

well

-defined concepts of floor and wall.

The Elden Ring has as many cliffs as it does, for good reason, the changes in elevation are either gradual or immediate, so the player is never confused about where they can or cannot walk, if you ignore this rule you suddenly have horses that can climb mountains in games focused heavily on movement, the decoration you build around your environment that is not intended to be used can sometimes be confusing because always making it clearly different from the main path of the game can break immersion and therefore Therefore, developers often need to resolve this conflict between functionality and appearance in various ways, one of the most common being the equivalent of simply throwing up your hands and saying: I stopped giving the player a button that simply tells them they are the important things to look at right now Mirror's Edge is a little more stylistic by integrating the important item button just into the game's aesthetic, coloring every potentially useful or specialized item is red, so you're not trying to jump out of every random box , you see that Mario games are much more cartoonish and they can get away with seamlessly integrating this idea of ​​universal rules into their games.

In most of the mainline Mario games, the most important set of universal mechanics are the Mario games. Mario's movement, like the 3D world, you are so indebted to him. That each level unequivocally conforms to this idea, there is not a moment where you can mistake a wall for a floor, the game is incredibly right angled at every turn, making absolutely sure that you do not compromise the player's immediate understanding if you remove the textures. and you compare them. in the game's hitboxes, it would be practically indistinguishable, function comes first and form follows later, even for the most story-based Marios, this trend is not much different, well, there will be walls that you will not be able to jump or jump off , is communicated as clearly as it can be to the player, while 64 can get away with everything being flat and skippable due to the polygonal time in which it was made.

Sunshine has more freedom for details and, in a strange way, more restriction as a result, like the 45°. rule ofAngle If a wall was jumpable in sunlight it had to be almost absolutely flat and if it was not meant to be jumpable it had to be noticeably bumpy There was a texture area that simply couldn't be put in the game as it would be too confusing for players. players and would weaken the experience that relies so heavily on movement to be rewarding, further fueling the lack of emphasis on movement for Galaxy. Sometimes you just can't jump off things and sometimes you can jump off one of them.

For me, the worst examples are the buoy-based galaxies, specifically the star in the Floating Fortress. Now the star goal appears to be one of the most open in the game. There are some galaxies that give you a simple task: collect five stars around. a large area and this one has something similar to needing to ascend the tower while collecting five pieces of blue stars that take you to the next planet on the way up the tower it feels somewhat open in the same way something like Seas slide Galaxy is , but then you come to this little pit area, there are two screws that you need to turn one to spawn a spring enemy and another to start rotating the cannon platforms.

Now the developers noticed that these walls are not high enough to make it impossible to climb them, but the spring enemy did not launch you enough to clear a wall that you cannot climb normally, so the developer decided that you simply cannot jump from it. these walls, the universal rule of jumping off flat walls is something you can. do for every other wall in this Tower is broken just to force you to bounce off this spring enemy, oh and it didn't even work you can just triple jump and do it easily this is all to say that when it comes to the decision form versus function in Super Mario Galaxy between appearance and gameplay, appearance comes first, a wall can look a little scruffy and weird and you can still jump off it and vice versa because why wouldn't they want it to be seen?

Well I guess and honestly, who could blame them? Well, knowing all this, why do Comet Stars exist? This is one of the most confusing decisions in this entire video game, as much as I've talked about how unimportant the move I want to be. It's clear that for what the game is going for, movement helps that experience most of the time, it has a way of making you focus on every little aspect of the levels as you can't just spam movement to get out of a bad situation. if you hit a wall there is a 20% chance you will die instantly VI a black hole, however occasionally a comet will visit a

galaxy

that you have already defeated, these comet stars will take over the already existing galaxy and sometimes direct the entire attention to the game itself.

This means having to beat a boss without getting hit, which is either H or Miss, however other times it's done in the form of a level timer or a race against Shadow Mario and some of those times I want to rip all my hair out. combo. Seas slide Galaxy is a race against Shadow Mario and it's very easy, you grab a shell. Shadow Mario just jumps onto land for no reason, you come out of the water very simply, except I lost this challenge three times because I couldn't get into the water. correctly, I died about 20 times in total on the way to Bowser.

The first 60 stars of this game, this level did not deserve to be 15% of that. The swimming mechanics are tolerable when there is not a race to the death, but rather once they are completed. the video game focuses on scrutinizing the controls, it would completely fall apart if they didn't make Shadow Mario an idiot. I'm pretty sure this level alone would make kids cry, not all comments are bad, just to make a point about the difficulty of the game. is at its best when you're playing around designing the level around it instead of just shoehorning it into an existing one, but there are comments that make a simple change to the level itself, quick comments make all enemies more rapids on a planet, making the difficulty high enough that it is fun to place the challenge even at the level itself.

But ultimately it's not the challenge that people remember from the game, in my opinion, what makes Galaxy so memorable is also the game's main selling point. Nintendo's space aesthetic. or more accurately, that Super Mario Galaxy is not a space game, well, it is a kind of space game, but not like the space games we normally think of. Space and the night sky for humanity have long represented the future, the idea of ​​expanding beyond our planet. the great unknown and therefore when a game is set in space, it is an important decision on how this game will feel and have, not only does science fiction almost always involve the existence of space travel but also space aesthetics. in a video game it almost always implies that it will be Sci-Fi Galaxy, however it doesn't really mean that the Mario series as a whole, although there is certainly futuristic technology, somehow always maintains a magical feel, although this feels strange. to say that the Mario Universe clearly has magic and it feels strange to say that because it's so natural for the series these days when magic is used in fiction it's almost always given some kind of logic if magic can just happen Without Consequently, the stakes of a story cannot really be well established, it needs to have rules and boundaries, otherwise it seems pointless;

However, in a world with so little necessary logic about how it works, half the time I don't even try. being immersive magic can be treated as before it is a force that permeates the world an extension of nature that causes, creates and animates things that we do not understand nor can we understand why Mario can eat a flower and throw fireballs magic I do not know e Even in Nintendo's approach to technology, it refuses to limit itself to a series of logical decisions: machines are given sentient life or designed to absorb ghosts through unknown means or

super

cannons that create zones of darkness despite that you get things explicitly designed to be technology. of the natural extension of the magic of this world around us Super Mario Galaxy is a space-centric game that works through magic rather than science, in the same way that space used to represent a feeling of wonder in instead of something to resolve and this kind of feeling over.

The feature helps the game get away with a ridiculous amount of weirdness. Canonically in the game, the planets and stars you jump on and around are made up of Lumas, the little baby stars that help you and Rosalina throughout your journey and while most of the planets. They turn out to be somewhat normal, many others are simply ridiculous. I mean there's a star where you just jump on a 2d Mario, how do they even know that? They asked who they asked Mamoto, is it him in Super Mario? Galaxy, the sheer extreme variety of how aesthetically sound or dissonant a galaxy can be in this game is just ridiculous, some are just a simple embrace of the space aesthetic, the first galaxy in the game outside of the intro, Good Egg Galaxy is a perfect example of Here you land on a small planet with a house on one side and a castle on the opposite half.

Once you get used to some of the strange gravity, you're sent to a pear-shaped grassy planet with spikes. Next is the scruffy egg. The next shaped rock is a literal planet-shaped Yoshi egg. Each of these has a distinct aesthetic, but they are dominated by the feeling of the sky behind them. All of these planets too, although they are actually completely linear in the. The way you shoot them sells the illusion of adventure by allowing you to see them everywhere at all times. I mentioned this in a previous video, but that kind of launching from planet to planet via a launch star isn't much different from pipes and other Mario games, the functional ones.

The purpose is to get you from predefined point A to predefined point B, but the presentation alone makes it so satisfying to do so instead of a straight line, it's a bunch of little planets scattered in orbit and that decision adds a lot to the experience. from other galaxies. deeply absorbed in a theme not unlike the paintings of Super Mario 64, in fact, often so dedicated to that theme that the game seems to forget that it's entirely about space Dusty Dune Galaxy is just a desert level the sky is blue sure the sand is yellowish gray there are pyramids and cacti it's just a classic desert level there are things floating in the air but that's just one thing platform games do sometimes even the music isn't actively spatial it's almost a break from the formula , this game's reminder of previous entries in the Other series, and perhaps most memorable to me, are the levels that take that sense of space and color it with their own defined look.

Battle Rock Galaxy is just this gigantic space station that drops you into the level with a direct view of what it's like. You feel so small subject to this artillery battery in one of the few places outside of the large star levels that it feels built by things other than Lumas; in fact, it feels like trying to kill any Luma the station sees is around instead of a bunch of tiny, loosely connected planets, it feels like one big thing being surrounded by other little things in battle. Rock 2, the game commits more than ever to what I think is one of its greatest strengths: the commitment to being cinematic Super Mario Galaxy more than any other Mainline.

The Mario game has the fascination of always looking good, learning from some of the painful camera problems present in Super Mario 64 Galaxy. It often takes full control of the camera for you, while there are levels that serve as collections of semi-open worlds on almost every planet, star and system, the camera is pre-designed to be exactly what the developers want you to see. This was presumably done in part to make the whole experience more convenient, especially with all the changing angles due to gravity. It was also done just for the game to look like. better, as long as you don't have to sacrifice too much functionality, many planets in this game use the Force perspective to focus on looking dangerous, onping or epic, now that it was taken out of the player's control, the camera received the ability.

To contribute to the real tone and feel of The Game Force's perspective, it also allows the game to seamlessly switch between different types of platforms in an instant, from something as defined as launching to a new planet to something as simple as walking towards forward. Galaxy can change. From 3D to 2D or weird 2D or top-down, you can use perspective to hide secrets or direct you to the next area, even things as subtle as aligning the camera so it works well with the controller. Notch inputs every facet of Super Mario Galaxy, from its controls to its From level design to camera work, all player input is exchanged in order to curate a specific experience today, and even when released Galaxy, one of the biggest buzzwords in video game marketing was open freedom of movement, freedom of skill creation, expression of environmental design, openness.

Games can be amazing, and some of the best work of all time in the medium is the one that embraces that philosophy, but what Galaxy reminded me is that sometimes, the more control you give a developer over their Vision, the more space has to give you an unforgettable experience, each level is made up of cinematic moments, fun combat, endless creative decision making. The variety in the linear packaging only serves to enhance the experience of the adventure in scale of excitement and, most importantly, progression throughout the game while having the freedom to choose which levels you want to play.

Bowser's levels control you smoothly. After each completion you unlock a new section of the station and with it a new Observatory, while from level to level it doesn't seem to be changing much. There's a subtle progression in how it all plays out as I talked about the sort of Meek's entirely space-themed levels that only seem to exist to early observers as the game continues, perhaps counterintuitively, galaxies seem to become less and less of a focus on the idea. from space. By the time you reach the second half of the game, any stage with a strong space atmosphere has its own twist that defines each individual stage as something unique and uncompromising.

Bowser's final stage, the one at the center of the universe, actually isn't. in an observatory, however, the final Big Star still unlocks one last part of the station. Each new Observatory unlocked seems to move further and further away from the start of the Hub area each time you return to talk to Rosina or start the game. Again, you must travel back to these placeslater in the game, making each one feel literally symbolically distant from the game in which you were first introduced. The final Observatory, which is completely optional as it does not have any Bowser stages, is located at the top. of the station and while the whole world before this was a basic building that became more and more thematic, this is not a building at all, you find this impossible open landscape, literally being on a planet of some kind similar to the ours and yet somehow feel like The strangest part of this video game so far, and to match it, the galaxies in this Observatory maintain that intensely alien feeling.

Galaxy is Battle Rock taken to the extreme, with this huge, imposing space station being completely removed from the more naturalistic feel of the game every time. Star takes you to new sections of this station by climbing, dodging and jumping across barges of enemies and ammunition. Each Star takes you away from the station, allowing you to soak in its size before being shown a relatively small but huge piece, knowing that it doesn't matter. How many stars were placed here? You would never feel like you explored them. Splashes of matter. Galaxy uses this dark matter mechanic seen in some of Bowser's levels, but in reverse, delivered via light rays bouncing off the invisible ground instead of a space or sky. you are accompanied by a strange green and then shortly after a completely black void, you can see the green Skybox disappear as you move to the next area, all notions of immersion, flight or adventure are actively deconstructed in front of you, it feels like darkness.

Matter has dissolved the presentation of the game itself, leaving you with a much weirder version of what this game actually is. A bunch of things floating in a literal void, a deep, dark galaxy is the closest thing to adopting an open world philosophy with the entire level being one continuous one. route through beaches, caverns and water, each star is so cohesive that it is almost unpleasant, being so conditioned by the rest of the game that it feels like you are playing a completely different one in a game where space represents the magical unknown, the more inspiring.

Discoveries come not through the most space-like places, but rather through the strangest things it has to offer. Every secret in this game feels so genuinely strange. The Trial Galaxy is unlocked after finding all three green stars in each level, exploring some niche mechanics as much as possible. He can return to the home world just before the final Observatory and receive the power of Flight. Around the station, things that are not traditionally rewarding for games, but are deeply satisfying for the mystique that the game offers you. Only space can have such strange things and each discovery makes it seem more and more as if everything is possible here.

There were so many days when I was a kid where I religiously watched compilations of Super Mario Galaxy Secret instead of playing the game I was looking for myself. glitches and jumps and easter eggs falling into tricks and scary videos made for other kids exactly like me. I wanted to see everything this game had intentionally or unintentionally, however, there was one aspect of the game that as a kid never really interested me. in the library, but first strange question, what happens in this game? I've spent about 25 minutes talking about the game, but things happen in the game in the plot and yet it's surprisingly normal for the most part, it's certainly more cinematic in its execution than normal, the main story of Super Mario Galaxy It's the same safe Peach from Bowser structure that basically all Mainline Mario games have when it comes to most video games with a story that is integrated alongside or between sections of the game to serve as a reward or to give real meaning. to what you're doing in the game Mario games are some of the most basic examples of this most of the time Peach goes to find Peach reaches the end beat Bowser get Peach Stay Saved at the end of each chapter in the fight from the boss you discover that, oh no, Peach isn't here and every time you fail to save her makes the final victory feel better, serving as gentle encouragements to keep going.

If you kicked Bowser's ass this time, you can do it again and he will eventually. be the latter, the sheer delicacy of these stories refocuses all attention on the game without making the player feel like anything is missing, even Sunshine, while clearing up the world significantly more, ultimately adopting this type of configuration, just in a more complicated way, galaxy swaps. between Bowser and Bowser Junor, Junior gives you more creative fights, while the real deal gives you a way to be genuine when the fight is pretty fun and gets more and more complex with each new iteration and yet the story is Very simple, you know, until a black hole appears. destroys everything the interesting parts of the story the most notable ones focus on Rosalina and the Lumas.

You don't really talk to Rosalina much outside of the beginning and end of the game, you mainly get little updates about how you're doing in her. It's kind of a gentle tone, and yet there are brief moments where you can understand who she and the Lumas are. The Lumas are repeatedly called children, they are these soft, carefree, stupid little guys, and their form of maturity is to become a part of this universe when they transform they do it almost exclusively to help people and it can be done in a of planets, they launch stars, power stars and presumably even more things that we don't even know, namely that these Lumas somehow represent the formless universe itself and that the material that the universe is made of is not only intrinsically kind but also helpful and optimistic.

The earth wants to foster life. the stars want to help feed the station. the launch. The stars want to help you travel through everything in the world. The universe is crying out for goodness and happiness and Light Roselina is the mother of these children, but she still exudes that same kind of innocence. The library is a completely optional room in the comet observatory, whose sole purpose is for Rosalina to read you a story. The Lumas, this story, as we come to discover, is actually Rosalina's backstory in the form of a children's storybook. Mario games have long been linked to the framework of storybooks that feed that idea of ​​childhood innocence, but the content presented has only been an introduction or a way to frame the video game itself, the sequel is in fact framed in this exact way, but the original is not for all purposes.

Super Mario Galaxy is not a story that is told, but its own entire universe and this story, Rosalina's book. it is one that exists entirely within him, it details the journey of a girl who one day finds auma, someone who is waiting for her mother, the writing of the story is actively childish in technique and logic, things like waiting years or forgetting water they are treated as a mild inconvenience Ian doesn't understand the true scale and seriousness of cute and silly things. Concepts like butterfly nuts being essential are expressed with blunt, frank confidence. Furniture and building materials emerge from the medium of comets.

This logic only makes sense to a child and yet at the same time. This is Rosalina's backstory, although this is certainly childish even for this world. This logic makes sense because it is a story written in the Mario Universe. As each of us grows, there is always a part within us that is still a child and these games have a way. to dive into it, the presentation, writing and stakes are clearly simplistic, the logical leaps are easily accepted as fact, it remains silly and light-hearted in the face of the real and the terrifying, Roselina's story is completely optional to get involved, it is not. a motivator to keep playing or even a reward in my opinion, at least non-traditional, is something that we, the players, choose to participate with.

It's a quiet antithesis to the rest of the game, an active break from that action and a personalized experience, and yet simultaneously. It is this feeling that permeates every Mario game condensed into a story; It not only evokes that inner child but speaks directly to it, while most of Rosalina's book is quite normal, being an escapist journey to the stars, it begins to play with the idea that it is It's not that simple, the Luma They never find their original mother, the comet never arrives, and as a result, Rosalina takes them under her own protection and soon after takes all the Luma she finds under her wing, although it is not explicitly stated at the beginning.

Rosalina also wanted to look for stars. of his own mother before disappearing, he told Rosalina that he would always take care of her and Rosalina decided to take it literally, however, in the middle of this lulling journey, he takes a look at his home planet, at the hill where he looks at the stars and breaks to cry. She knew what her mother meant but she didn't want to consider it. This trip was not only to help Luma but to escape a harsh reality. His mother is sleeping under the tree on that hill even in her The darkest moment of the story does not leave that childish mentality, that way of writing and thinking, and that is why the reader, the reader's inner child, has no reason to shy away , there is no defense to put up, he is still so gentle, what we see in the end is so painfully sad.

Roselina takes on the role of mother of the Lumas, by extension, in some ways, the mother of the universe, but she never abandons that Purity, as she has matured over hundreds of years, she continues to reflect the entire game around us in a way that We ventured inside. the innocence of her she Wonder her Universe in a game that downplays Mario's role by putting the world around him first. What really sets this game apart from the rest of the mainline titles is that the world is entirely represented by someone other than him. I've seen a lot of people sum up what makes this game memorable in this story book alone, and while it changes the way you look at the rest of the game, it simply couldn't exist without everything else: the cinematics, the game design. levels, the aesthetics, everything. is designed to bring you into this state of mind and immerse you in a world where the story not only makes sense but means something, while the individual parts of this game can fade away, the planets, the levels, the moves, the power-ups, the story Even the music in the background never seems to dissipate.

The details can and will fade as time progresses, but what remains after it's all gone is what stays most with us looking longingly at an endless night in Sky. . Did you know that I make videos that don't? Even on this channel I don't really appreciate YouTube and my work on it, there are so many niche topics and ideas that I just can't turn into a main channel video, most of the time they are too short, but other times they would just do it. It doesn't work with YouTube's algorithm as a mini essay on Rock in the YouTube sphere and needing to create years of new content about a game that has a single 5 minute gameplay loop isn't going to appeal to everyone, lucky for me .

I recently became a member of the nebula streaming service, now nebula is a service that allows me and 200 other creators I respect to not only upload their stuff completely free, but also upload extra video segments and completely exclusive content just for the site and not I only recently joined, but Nebula has attracted more and more game creators, from Jacob Geller to Ras Buttin, the game creators' toolkit and, speaking more of additional content, there was a segment of the script of This video I found very interesting about Super Mario Galaxy. 2 and Yoshi's infinite jump, but there wasn't a single place where it could really fit and not greatly disrupt the flow of the video, so I turned that segment into its own little bonus video about the nebula as of the release of this video.

There are five separate mini essays on everything from the worst video game tutorial I've ever seen to OK and viral YouTube music video artists, so if you want more of my stuff, as well as almost 200 other channels with bonus and exclusive content, completely for free use my link in the description below or on the screen to join for only 250 a month its worth it i really use nebula so much it's crazy and for the holiday season there is a sale where you can buy nebula for free life if you want For $300, they're offering the deal so Nebula will have money to fund a bunch of big projects by 2024, so if you want to fund some big documentaries and get some great lifetime service in the process, this is the deal for you anyway.

I hope to see a nebula and now it's time for sponsors. I can't find my members page, how can I see my members? Okay, I literally can't sort by slices anymore, so I'm going to have to do thisjust in a random order. uh thanks jaredo zimor Wallace a moranville Evil wannabe Owen Arin atlin dley volley grinkle stinkle MF boy Brody lson Edmund dong uh Florian Stickman Mayhem Thomas Scott seven syringes Connor Big Dave Ro Ramen Brian Jackson unde Rexy VT Ted h a magic muffin no joke Maiden dough Rober Michael Becker, the best skipper, Aster jug ​​and ribbon, and if I miss one of you, I'm so sorry.

I don't know why they changed the website like this. I can't sort through tears anymore. Anyway, I hope everyone has a good day. uh and do you like Atlas? He is my turtle.