The result of all these kinds of nuanced reactions to input was a highly ?¬‚ uid motion, especially as compared
to a game such as Donkey Kong, in which there was no such sensitivity.
The comparison in Figure 2, between Super Mario Brothers and Donkey Kong, shows very clearly just
how much more expressive and ?¬‚ uid Mario??™s controls are. The interesting thing to note is that Donkey Kong
used a joystick, a much more sensitive input than the NES controller. No ma er how simple the input, the
reaction from a system can always be highly sensitive.
Figure 1 Natural mapping
Prototyping for Game Feel 225
Context
Returning to Mario 64, imagine Mario
standing in a ?¬? eld of blank whiteness,
with no objects around him. With
nothing but a ?¬? eld of blankness, does
it ma er that Mario can do a long
jump, a triple jump, or a wall kick?
If Mario has nothing to interact
with, the fact that he has these acrobatic
abilities is meaningless. Without
a wall, there can be no wall kick. At
the most pragmatic level, the placement
of objects in the world is just
another set of variables against which to balance movement speed, jump height, and the other parameters
that de?¬? ne motion.
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