Fukushima: To develop the core gameplay, we leaned heavily on Acquire’s solid initial concept. They proposed crafting a “Mario story that’s uniquely yours” on drifting islands, and we found this idea compelling enough to begin prototyping right away.
Ohashi: The notion of drifting islands was instantly appealing. Imagine discovering a new island, diving into an adventure, and forming bonds with its inhabitants—it was exciting to think about linking multiple islands and growing your circle of companions for these adventures.
Otani: I have to admit, it was a standout concept. At Nintendo, this kind of idea hadn’t come up in our brainstorming sessions. Creating a gameplay experience based on connecting various islands was refreshingly novel. (Laughs)
Ohashi: Despite its appeal, capturing that “Mario & Luigi-like” essence took quite a while, which meant we had to sideline testing for our new gameplay elements. It was a lengthy process to develop engaging island-hopping gameplay, and this delay in presenting concrete ideas to Nintendo caused some concern.
Otani: I won’t lie—I was a bit on edge. Fukushima-san and I were questioning when Acquire would be ready to share their insights. (Laughs)
Fukushima: Trust was key here. Ohashi-san is known to be meticulous and only delivers solutions when he’s truly satisfied, so we believed in his process. Nonetheless, we did hold internal strategy sessions to determine just how long we could afford to wait. (Laughs)
Ohashi: The game centers around Shipshape Island, which acts as a base for Mario and his friends as they drift through the ocean, exploring various islands and engaging in adventures. The challenge was perfecting mechanics, like how the island could navigate such vast waters.
Fukushima: Normally, we lock down the gameplay and story direction early on, shaping the finer details from there. This particular project took longer than anticipated, causing us to fine-tune elements like battles and exploration actions without having finalized certain key concepts—such as the island’s drifting system and the game’s scale, including the number and themes of islands. It was a bit like chasing rainbows.
Otani: What’s more, there was a marked difference in how the two companies developed games. Historically, we’d establish gameplay first, and the director helmed the overall progression with the story being built around it. Acquire, however, allowed Ohashi-san to focus on the islands’ gameplay, while an external writing team concurrently developed the story. Yet, in an RPG, storytelling and gameplay need to harmonize to drive progress.
Ohashi: Our external story creators also grappled with conveying that “Mario & Luigi-like” feel, making it challenging to devise an appropriate narrative.
Fukushima: But eventually, you found the key, didn’t you?
Ohashi: I remember the turning point. We brainstormed themes for each sea together—starting with “family” for the first sea, “friends” for the second, and others beyond.
Fukushima: Exactly, that’s when the idea of “connection” started to crystallize. The gameplay aims to connect islands, but it also emphasizes the bonds between the people living on them.
