Shigeru Miyamoto
Shigeru Miyamoto is a Japanese video game designer, producer and game director at Nintendo, where he has served as one of its representative directors as an executive since 2002. Widely regarded as one of the most accomplished and influential designers in video games, he is the creator of some of the most acclaimed and best-selling game franchises of all time, including Mario, ''The Legend of Zelda, Donkey Kong, Star Fox and Pikmin. More than 1 billion copies of games featuring franchises created by Miyamoto have been sold.
Born in Sonobe, Kyoto, Miyamoto graduated from Kanazawa Municipal College of Industrial Arts. He originally sought a career as a manga artist, until developing an interest in video games. With the help of his father, he joined Nintendo in 1977 after impressing the president, Hiroshi Yamauchi, with his toys. He helped create art for the arcade game Sheriff, and was later tasked with designing a new arcade game, leading to the 1981 game Donkey Kong.
Miyamoto's games Super Mario Bros. and The Legend of Zelda helped the Nintendo Entertainment System dominate the console game market. His games have been flagships of every Nintendo video game console, from the arcade machines of the late 1970s to the present day. He managed Nintendo's Entertainment Analysis & Development software division, which developed many Nintendo games, and he played an important role in the creation of other influential games such as Pokémon Red and Blue and Metroid Prime''. Following the death of Nintendo president Satoru Iwata in July 2015, Miyamoto became acting president alongside Genyo Takeda until he was formally appointed "Creative Fellow" a few months later.
Early life
Miyamoto was born on November 16, 1952, in the Japanese town of Sonobe, Kyoto Prefecture. His parents were of "modest means", and his father taught English.From an early age, Miyamoto explored the natural areas around his home. He discovered a cave, and, after days of hesitation, went inside. His expeditions into the Kyoto countryside inspired his later work, particularly The Legend of Zelda, a seminal video game.
In the early 1970s, Miyamoto graduated from Kanazawa Municipal College of Industrial Arts with a degree in industrial design. He had a love for manga and initially hoped to become a professional manga artist before considering a career in video games. He was influenced by manga's classic kishōtenketsu narrative structure, as well as Western genre television shows. He was inspired to enter the video game industry by the 1978 arcade hit Space Invaders.
Career
1977–1984: Arcade beginnings and ''Donkey Kong''
In the 1970s, Nintendo was a relatively small Japanese company that sold playing cards and other novelties, although it had started to branch out into toys and games in the 1960s. Through a mutual friend, Miyamoto's father arranged an interview with Nintendo president Hiroshi Yamauchi. After showing some of his toy creations, he was hired in 1977 as an apprentice in the planning department.Miyamoto helped create the art for the coin-operated arcade game, Sheriff. He first helped the company develop a game after the 1980 release Radar Scope. The game achieved moderate success in Japan, but by 1981, Nintendo's efforts to break it into the North American video game market had failed, leaving them with a large number of unsold units and on the verge of financial collapse. Nintendo president Hiroshi Yamauchi decided to convert unsold Radar Scope units into a new arcade game. He tasked Miyamoto with the conversion, about which Miyamoto has said self-deprecatingly that "no one else was available" to do the work. Nintendo's head engineer, Gunpei Yokoi, supervised the project.
Miyamoto imagined many characters and plot concepts, but eventually settled on a love triangle between a gorilla, a carpenter, and a woman. He meant to mirror the rivalry between comic characters Bluto and Popeye for the woman Olive Oyl, although Nintendo's original intentions to gain rights to Popeye failed. Bluto evolved into an ape, a form Miyamoto claimed was "nothing too evil or repulsive". This ape would be the pet of the main character, "a funny, hang-loose kind of guy". Miyamoto also named "Beauty and the Beast" and the 1933 film King Kong as influences. Miyamoto had high hopes for his new project, but lacked the technical skills to program it himself; instead, he conceived the game's concepts, then consulted technicians on whether they were possible. He wanted to make the characters different sizes, move in different manners, and react in various ways. However, Yokoi viewed Miyamoto's original design as too complex. Yokoi suggested using see-saws to catapult the hero across the screen but this proved too difficult to program. Miyamoto next thought of using sloped platforms and ladders for travel, with barrels for obstacles. When he asked that the game have multiple stages, the four-man programming team complained that he was essentially asking them to make the game repeat, but the team eventually successfully programmed the game. When the game was sent to Nintendo of America for testing, the sales manager disapproved of its vast differentiation from the maze and shooter games common at the time. When American staffers began naming the characters, they settled on "Pauline" for the woman, after Polly James, wife of Nintendo's Redmond, Washington, warehouse manager, Don James. The playable character, initially "Jumpman", was eventually named for Mario Segale, the warehouse landlord. These character names were printed on the American cabinet art and used in promotional materials. The staff also pushed for an English name, and thus it received the title Donkey Kong.
Donkey Kong was a success, leading Miyamoto to work on sequels such as Donkey Kong Jr. in 1982, and Donkey Kong 3 in 1983. In January 1983, the 1982 Arcade Awards gave Donkey Kong the Best Single-player video game award and the Certificate of Merit as runner-up for Coin-Op Game of the Year. In his next game, he gave Mario a brother: Luigi. He named the new game Mario Bros. Yokoi convinced Miyamoto to give Mario some superhuman abilities, namely the ability to fall from any height unharmed. Mario's appearance in Donkey Kong—overalls, a hat, and a thick mustache—led Miyamoto to change aspects of the game to make Mario look like a plumber rather than a carpenter. Miyamoto felt that New York City provided the best setting for the game, with its "labyrinthine subterranean network of sewage pipes". To date, games in the Mario Bros. franchise have been released for more than a dozen platforms. Shortly after, Miyamoto also worked the character sprites and game design for the Baseball, Tennis, and Golf games on the NES.
1985–1989: NES/Famicom, ''Super Mario Bros.'', and ''The Legend of Zelda''
As Nintendo released its first home video game console, the Family Computer, Miyamoto made two of the most popular titles for the console and in the history of video games as a whole: Super Mario Bros. and The Legend of Zelda.In both games, Miyamoto decided to focus more on gameplay than on high scores, unlike many games of the time. Super Mario Bros. largely took a linear approach, with the player traversing the stage by running, jumping, and dodging or defeating enemies. It was a culmination of Miyamoto's gameplay concepts and technical knowledge drawn from his experiences of designing Donkey Kong, Mario Bros, Devil World, the side-scrolling racing game Excitebike, and the 1985 NES port of side-scrolling beat 'em up Kung-Fu Master. This culminated in his concept of a platformer set in an expansive world that would have the player "strategize while scrolling sideways" over long distances, have aboveground and underground levels, and have colorful backgrounds rather than black backgrounds.
By contrast, Miyamoto employed nonlinear gameplay in The Legend of Zelda, forcing the player to think their way through riddles and puzzles. The world was expansive and seemingly endless, offering "an array of choice and depth never seen before in a video game." With The Legend of Zelda, Miyamoto sought to make an in-game world that players would identify with, a "miniature garden that they can put inside their drawer." He drew his inspiration from his experiences as a boy around Kyoto, where he explored nearby fields, woods, and caves; each Zelda game embodies this sense of exploration. "When I was a child," Miyamoto said, "I went hiking and found a lake. It was quite a surprise for me to stumble upon it. When I traveled around the country without a map, trying to find my way, stumbling on amazing things as I went, I realized how it felt to go on an adventure like this." He recreated his memories of becoming lost amid the maze of sliding doors in his family home in Zeldas labyrinthine dungeons. In February 1986, Nintendo released it as the launch game for the Nintendo Entertainment System's new Disk System peripheral.
Miyamoto worked on various other different games for the Nintendo Entertainment System, including Ice Climber and Kid Icarus. He also worked on sequels to both Super Mario Bros and The Legend of Zelda. Super Mario Bros. 2, released only in Japan at the time, reuses gameplay elements from Super Mario Bros., though the game is much more difficult than its predecessor. Nintendo of America disliked Super Mario Bros. 2, which they found to be frustratingly difficult and otherwise little more than a modification of Super Mario Bros. Rather than risk the franchise's popularity, they canceled its stateside release and looked for an alternative. They realized they already had one option in Yume Kojo: Doki Doki Panic, also designed by Miyamoto. This game was reworked and released as Super Mario Bros. 2 in North America and Europe. The Japanese version of Super Mario Bros. 2 was eventually released in North America as Super Mario Bros.: The Lost Levels.
The successor to The Legend of Zelda, Zelda II: The Adventure of Link, bears little resemblance to the first game in the series. The Adventure of Link features side-scrolling areas within a larger world map rather than the bird's eye view of the previous title. The game incorporates a strategic combat system and more RPG elements, including an experience points system, magic spells, and more interaction with non-player characters. Link has extra lives; no other game in the series includes this feature. The Adventure of Link plays out in a two-mode dynamic. The overworld, the area where the majority of the action occurs in other The Legend of Zelda games, is still from a top-down perspective, but it now serves as a hub to the other areas. Whenever Link enters a new area such as a town, the game switches to a side-scrolling view. These separate methods of traveling and entering combat are one of many aspects adapted from the role-playing genre. The game was highly successful at the time, and introduced elements such as Link's "magic meter" and the Dark Link character that would become commonplace in future Zelda games, although the role-playing elements such as experience points and the platform-style side-scrolling and multiple lives were never used again in the official series. The game is also looked upon as one of the most difficult games in the Zelda series and 8-bit gaming as a whole. Additionally, The Adventure of Link was one of the first games to combine role-playing video game and platforming elements to a considerable degree.
Soon after, Super Mario Bros. 3 was developed by Nintendo Entertainment Analysis & Development; the game took more than two years to complete. The game offers numerous modifications on the original Super Mario Bros., ranging from costumes with different abilities to new enemies. Bowser's children were designed to be unique in appearance and personality; Miyamoto based the characters on seven of his programmers as a tribute to their work on the game. The Koopalings' names were later altered to mimic names of well-known, Western musicians in the English localization. In a first for the Mario series, the player navigates via two game screens: an overworld map and a level playfield. The overworld map displays an overhead representation of the current world and has several paths leading from the world's entrance to a castle. Moving the on-screen character to a certain tile will allow access to that level's playfield, a linear stage populated with obstacles and enemies. The majority of the game takes place in these levels.