Developer Insights Vol. 15: Mario & Luigi: Brothership – Chapter 3 News

You’ve clearly put a lot of effort into creating a distinctive visual and atmospheric world for this game. Could you share how you approached developing the core gameplay and storyline that define the game?

Fukushima: We kicked things off by leveraging a strong initial concept from Acquire. They proposed an intriguing idea: “A Mario story tailored to you, set on drifting islands.” Their prototype was based on this premise.

Ohashi: The notion of drifting islands immediately grabbed my attention. The idea of discovering islands, embarking on adventures, and forming friendships with locals was compelling. Expanding your network of allies by connecting more islands seemed like a fantastic dynamic.

Otani: Indeed, it was a creative spark we hadn’t seen before at Nintendo. Designing gameplay involving interconnected islands isn’t your typical first thought. (Laughs)

Ohashi: Capturing the essence of a “Mario & Luigi” vibe took longer than expected, which pushed back testing on the island mechanics. We deliberated extensively on how to make the island adventures engaging, which delayed presenting solid concepts to Nintendo—it was a bit unsettling for them, I believe.

Otani: I won’t lie, the wait was nerve-wracking. Fukushima-san and I kept wondering when Acquire would be ready to showcase their ideas. (Laughs)

Fukushima: But we trusted Ohashi-san—he’s the kind of person who ponders deeply and makes a call only when he’s sure. Even so, internally, we debated how long we could stay patient. (Laughs)

Ohashi: Shipshape Island acts as the hub for Mario and his companions in this game. It floats across a vast ocean, enabling adventures on various islands. However, crafting the mechanics for how this traversal around the ocean operates took some time.

Fukushima: Typically, core gameplay and story directions are established early in development, with details gradually worked out. This time, things took longer. Meanwhile, actions and combat mechanics were developed in tandem but independently of certain finalized elements. Features like Shipshape Island’s movement or the game’s scale, including the number of islands and their themes, were in flux. It often felt like chasing down rainbows, a real challenge.

Otani: Additionally, our development approaches varied greatly. Traditionally, we crafted gameplay first, then built a narrative around it, all directed by a single vision. Acquire, on the other hand, had Ohashi-san focused on gameplay, while a separate story writing team developed the plot. However, in RPGs, story and gameplay must tightly interlink for overall progress.

Ohashi: The external writers also found it tough to embody that “Mario & Luigi” spirit in the story. It was a tough nut to crack.

Eventually, you did figure it out, though, right?

Ohashi: Yes, I think the breakthrough came when we outlined the themes for each sea. We started with “family” for the first sea, “friends” for the second, and so forth.

Fukushima: Once we established “connection” as a central theme, everything clicked. It mirrored the gameplay—linking islands—but also resonated with the relationships between the islanders themselves.