The 'Shroom:Issue 174/Palette Swap
Director's Notes
Hi, everybody! Welcome to the September Swap!
Things are pretty quiet in my neck of the woods. I've stacked my weekend time with activities and I'm looking forward to the fall weather- sweaters and leggings, apple cider, donuts, and of course, the nice fall colors. Michigan is great in that we have beautiful fall colors on our trees, and I'm excited to see some orange this year!
We have three new sections for you this month! Waluigi Time (talk) strikes again, this time with a regular comic strip starring... well, Waluigi Time! Next, we have a new section from Shy Guy on Wheels (talk): Shy Guy's Cool and Hot Jams! SGoW will be talking about various pieces of music monthly, starting off by looking at some famed SEGA composers. And finally, a pixel art section from InsaneBlathers (talk) showcasing their personal art! Be sure to check out all three of these great sections and let us know what you think!
Happy reading!
~FunkyK38
Section of the Month
A lot of our regular writers were absent last month, but it looks like you all enjoyed the sections that were present! Coming in first, we have Waluigi Time (talk) with a new chapter of Shmaluigi, Private Investigator where our resident detective checked out a few leads on the Killing Game. In second is Booguette, with the first chapter of Koopamon where we saw Mario get his first Koopamon! Up next is What's on the Box?, where Yoshi876 (talk) discussed the boxart of Mario & Sonic at the London 2012 Olympic Games. After that is a new chapter of Magolor04726 (talk)'s World of Plight, where an amnesiac Luigi returned to our heroes! Finally, we have Long John Spaghetti (talk)'s first chapter of GoldenMario 007, where our hero Mario received his mission and a set of gadgets! A big thank you to everyone who voted, and please keep it up for this month, too!
| Palette Swap SECTION OF THE MONTH | ||||
|---|---|---|---|---|
| Place | Section | Votes | % | Writer |
| 1st | Shmaluigi, Private Investigator | 8 | 33.33% | Waluigi Time |
| 2nd | Koopamon | 6 | 25.00% | Booguette |
| 3rd | What's on the Box? | 5 | 20.83% | Yoshi876 |
| 4th | World of Plight | 3 | 12.50% | Magolor04726 |
| 5th | GoldenMario 007 | 2 | 8.33% | Long John Spaghetti |
What's on the Box?
Hello readers, and welcome back to What's on the Box.
I do feel that video game boxarts go through phases, where for a while every single one is just momentously boring, and then every single one strikes gold, and it's safe to say that when Donkey Kong Country 3: Dixie Kong's Double Trouble was introduced, we were in a golden era for video games boxarts. Also, in all the years I've been doing this section, how have I never covered a Donkey Kong Country game?
It seems only fitting to not be covering the first game in the series, but for us to make our entry point in the third game, which barely featured Donkey Kong, instead focusing on Diddy Kong's girlfriend, Dixie Kong, and her baby cousin, Kiddy Kong to rescue both Donkey and Diddy from King K., sorry I mean KAOS.
The game gave a fairly explorable world map, and the boxart makes full note of this by prominently featuring the hovercraft that Dixie and Kiddy use to jet around the waters of Lake Orangatunga, and it even throws in a Bounty Bass, a Nibbla, Krumple and a Banana Bird for good measure. And who's take peeking out from the door of his store? Why, it's Funky Kong, who sells the hovercraft to the monkeys for their adventure.
And Lake Orangatunga provides a beautiful backdrop for the boxart, not only with the serene waters, but also the peaceful forest and mountains that lie behind it; top it off with the Brothers Bear's cabin, and it makes for one of the most eye-catching boxarts out there, if it wasn't for the somewhat muted colours. And Sega fans, I'm afraid this game isn't for you, as the boxart clearly states, it's for Nintendo consoles only. Checkmate.
We've been having some good boxarts over the past few months, and I can say that this one is no exception to that. Perhaps it would have benefited from some brighter colours, but on the whole, I really can't complain about this. Featuring KAOS on the boxart may give the game away that it's another of King K. Rool's disguises, whereas now his identity is shrouded in secret. My only complaint that I can come up with, is that it should have featured Donkey and Diddy somewhere, as unless you're recognising Dixie, you might think this was a whole different series.
Drawn and Pressed
Jim Davis is well-known in creating Garfield, which is one of the most well-known comic strips in the world and is the most widely syndicated one. To celebrate his belated birthday (this was planned for last month but certain events got in the way), the article is instead about the comic strips that he worked on, as well as a bonus comic strip at the end that is related. Each of the comic strips are much more brief compared to the past articles, because after all, writing about six different strips is more work so please forgive the more brief snippets. Without further ado, we'll be covering not one, not two, but five (six if you count the bonus) different comic strips.
Tumbleweeds
Before Jim Davis set off on his own, he worked as one of the assistant for an old comic strip Tumbleweeds, which is set in the Wild West and features cowboys and Native Americans. The author, Tom K. Ryan, went to run this comic strip for about 42 years from September 1965 to December 2007, and in an unusual move for comic strips, he ended it when he retired, making it so that nobody succeeded this creative work[1], like how Charles Schulz ended Peanuts (though he didn't pass away so soon after ending it). Perhaps some of Garfield's traits could be traced back to this comic strip, such as its use of a three-panel layout. Tom K. Ryan himself also took an education in business (though he dropped out) and took up a job on cartoon advertising later in his life, so he basically had experience in comics and business. I suppose that in this way, Jim Davis has something in common with him due to studying art and business, so I suppose he's learned quite well from his mentor.
Even if this is a pretty old comic strip, one of the things that I find fascinating is how big of a cast it has, possibly more than the amount of characters Peanuts have. Tumbleweeds the cowboy and his horse Blossom are joined by three groups of characters found in the Grimy Gulch (the townsfolk), The 6 7/8 Cavalry (the outpost), and the Poohawks (the Native Americans). Despite the large cast, there are very few female characters, where there are only three regular ones. Despite the generally dangerous setting of the Old West, the characters are portrayed as relatively harmless where not much action goes on. This is somewhat similar to how B.C. makes light of the prehistoric era, where it's not portrayed as dangerous as what it would be in reality, but instead as something to laugh at and to relate to.
I listened to a podcast about Garfield on Unjustly Maligned, and one of the things mentioned on the podcast is on the topic on apprenticeship in the comic strip industry. We don't really see this nowadays, and it would seem that most comic strip artists prefer to go all-in on their own, sometimes with a second person. In fact, Jim Davis eventually became a sort of mentor himself where a number of artists worked under him and eventually got to do a comic strip of their own. There is one particular artist who notably worked with Davis, who we'll get to later. Another point that is brought up on the podcast is how there is a sort of bias for comic strips where multiple people working on it, yet the stigma does not exist for other forms of comics. This comic strip is one of an earlier instances of multiple people working on it, so it's not like it's exclusive to Jim Davis' works. In fact, I kind of think that Jim Davis learned to do this from his mentor, since he too, had assistants working on his comic strip alongside himself. I do think the notion that something that is worked on by multiple artists becomes less valid is ridiculous, because it is a way for less-experienced folks to get some experience in the business, which is a good thing.
Being related to Garfield's origins, I can't help but take a slight interest in this comic strip, but I do not think I can reach far. Despite having some form of importance as a comic strip, the fact that it was syndicated by King Features (who acquired the original syndicate) meant that the archives of this comic strip are not very easily available. It does have a website dedicated to it, though. https://tumbleweeds.com/
The first Tumbleweeds comic strip.
The final Tumbleweeds comic strip.
Gnorm Gnat
The first comic strip that Jim Davis created is Gnorm Gnat, which is the result of Jim Davis wanting to do a comic on insects as he saw the possibilities of gags from them. For his first comic strip, it was published exclusively in The Pendleton Times, since Jim Davis is from Indiana after all. As the title suggest, the main character is a gnat, and along him are a host of other insects with their eccentricities. For example, there's Lyman who is a non-descript insect that has a very unique perspective on things (or perhaps insane), and there's Dr. Gougo who is depicted as a foreign doctor that isn't good with his profession. An interesting aspect with this comic strip is how there are only two female characters: one of them is Natasha who only says one thing, and the other is Wench Webb who is introduced as the wife of the Drac Webb (a spider who looks a bit like a mafia boss) and was introduced to lampshade the lack of female characters in the comic thus far.
An interesting aspect this comic has is how there are times Gnorm communicated with an unseen creator, who will sometimes show a pencil meaning that the characters are aware on how they are a cartoon. The identity of the creator is unambiguous, as Gnorm even referred to him as Mr. Davis. Given how a creator is known to exist within the confines of the strip, it isn't too farfetched to consider Jim Davis' plan to end Gnorm Gnat in a crushing way, by way of the main character being stomped by a foot to effectively off him. Interestingly, the last known Gnorm Gnat strip had the main character thanking the readers for making it all the way through, right before Jim Davis moves on to another comic strip.
The reason for this comic strip's lack of continuation is due to how there is a lack of faith from an editor since insects aren't really an enticing subject to make a strip from. Perhaps there is a point here, given how there is an insect-based animated series that only lasted one season (The Buzz on Maggie). The gags presented in the comic strip were considered fine, but I can't imagine it being timeless when looking back at it, unless some refinements were made. Davis' fellow cartoonist Mike Peters agreed that it's for the best that Gnorm Gnat had never been developed further due to how a gnat character doesn't seem really impressive, especially when we consider how Jim Davis went on to create a new comic strip with a focus on a cat, who as we all know became the most famous comic strip character in recent history.
For a long time, Gnorm Gnat's comic strips were not easy to find as it was never republished by Jim Davis, but thanks to the efforts of Quinton Hoover and a librarian who lived in Indiana, the contents of this comic strip are more known. Garfield's popularity made it possible for this to happen, whereas it might not be easy for other creators' past seminal works to be found unless those creators decide to make it public.
Gnorm Gnat comic strips can be read at the Garfield Fandom website: https://garfield.fandom.com/wiki/Gnorm_Gnat,_1973_comic_strips
The closest we got to Gnorm being squashed, which isn't the final comic strip.
The final Gnorm Gnat comic strip.
Jon
For Jim Davis' next comic strip, he sets his sights on making it about a cat. This idea came about because he was impressed with how Peanuts became a comic juggernaut, and he wanted to develop a comic strip that had that quality. As a basic rule in marketing a product, if there is a need to be addressed, it will necessarily be successful. In this case, there is a lack of popular cat comic strips at that time, with popular being the keyword. There is no doubt that cat comic strips exist such as some of the works of B. Kliban and Heathcliff, but they may not even be popular. The comic strip's title indicates that instead of Garfield being the main character, it was Jon who would've been the main character, which is why for part of this comic strip's life, Jon is the main focus, while Garfield is not a necessary presence.
The very premise of this comic strip is that the owner is clueless while his cat provided snappy comebacks. Because of the way this premise sounded, it's as if the cat should have been the star, which is what Jim Davis' mentor told him. In fact, there is a general agreement that Garfield should have been the central character that even when this comic strip was still running in the local newspaper, it eventually got titled to be named after the cat. As the popularity of this comic strip grew, it eventually grew to become syndicated, making it available to more strips worldwide. This story may sound simple but it makes for a very satisfactory story
When the comic strip was changed to Garfield, some fundamental changes had to be made to recontextualise the strip to make it about the cat. For one, a lot of Jon's life had to be omitted, and how Liz was changed from a bartender to a veterinarian to retain her role as a recurring character. The older comic strips were also changed around to either be refined or to retrofit Garfield into it. Much like Gnorm Gnat, the pre-Garfield comic strips weren't known for a long time until the efforts of Quinton Hoover and a librarian who lived in Indiana made the comic strips' existence more public. Through looking at the older comic strips, it is understandable why Jim Davis wanted to leave the old works behind: for one, the characters displayed some unsavoury moments like Jon stalking Liz, and another point is that the old material is retooled in Garfield, rendering the older works redundant.
Jon comic strips can be read at the Garfield Fandom website: https://garfield.fandom.com/wiki/Jon,_1976_comic_strips
Pop culture references were present in the prototype work, which you don't see much in present Garfield.
This is the last Jon comic strip (the next one is labeled as Garfield, completing the transition).
U.S. Acres
Besides Garfield, U.S. Acres (known as Orson's Farm in the cartoon in some parts of the world) is the second most notable work coming from Jim Davis. This is thanks partly to the appearance of the characters in a segment in each episode of Garfield and Friends, allowing them to get in some visibility. The idea of making barnyard animals as the focus of the comic strip doesn't really come out of nowhere, since Jim Davis himself grew up in a farm. Given Garfield's success, the syndicate had greater faith in this comic strip, which is why it started out in so many newspapers (505 of them!) from the get-go, and it also has extensive merchandising. However, it didn't run for long, where it only ran from March 1986 to April 1989, a mere three years and one month. At the very least, it has an ending so it's got some closure.
One of the possible reasons this comic strip had a short run might be because it had a slow first year, where it was mainly story followed by a final panel that awkwardly added an obligatory joke[2]. Most of the first year is set around slowly introducing the cast members, where Orson the pig gets introduced first, and then around a month later, Roy the rooster gets an appearance, and then followed by Booker and Sheldon (both within eggs at that time), and followed by other characters like Wade the duck, Lanolin and Bo the sheep, as well as Cody and Blue (dog and cat respectively). It would probably be a good idea to introduce enough cast members to get to the heart of the humour, so perhaps starting with the pig and the rooster would probably be a better fit. Pooch Cafe had the right idea when they decide to only do a "first year" storyline much later in its run. Additionally, Garfield himself already started with the fun parts, which is helped by the fact that Jim Davis had years to produce enough gags to fine tune some wrinkles and get the ball rolling. The animated series had a longer run by comparison, where it ran for all seven seasons.
One of the most notable thing with U.S. Acres is the fact that towards the end of its run, Jim Davis isn't the only person who signed his name on his strips. The other person who co-authored this comic strip is none other than Brett Koth, who was a younger person who managed to work on this comic strip, and brought his sense of style to it. In fact, Brett Koth eventually gain enough of a footing to not only work with Jim Davis on another comic strip in the future, but much later on he will set off to create a new comic strip on his own. The reason for hiring an assistant is to also be able to help out in storyboarding projects, which Brett Koth and Bob Scott (creator of Bear with Me) applied[3]. Of the two, Brett Koth appears to be the more active contributor of this comic strip. What I like about this is how there is a clear lineage within the apprenticeship. It started with Tom K. Ryan mentoring Jim Davis, and now Jim Davis did the same for Brett Koth. As for Koth's contribution to the comic strip, he brought a zany energy to the comic strip that would've been appreciated in the first year of its run, because by then it would've fared better.
Because U.S. Acres was completely developed by Paws Inc., the comic strip was able to be rerun online, where the Garfield website had this comic strip, and eventually GoComics hosted it. However, when Viacom purchased Paws Inc. and subsequently the rights to Garfield and this comic strip, the comic strip eventually got taken down and it is unlikely that it will ever be up again.
U.S. Acres comic strips can be read at the Garfield Fandom website: https://garfield.fandom.com/wiki/U.S._Acres,_March_1986_comic_strips
Mr. Potato Head
As part of a collaboration between Hasbro and Jim Davis' creative team, Mr. Potato Head appears as a short-lived comic strip where it started on 16th July, 2001 to 22nd June, 2003, which is almost two years. Much like U.S. Acres at the end of its run, the comic strip's main creators are both Jim Davis and Brett Koth. In this rendition of Mr. Potato Head, not only are the titular character and his wife (Mrs. Potato Head) present, but they are joined by their two children Julienne and Chip (teenage daughter and young son respectively). The comic strip is generally a mixture of potato gags, detachable limbs (a feature found on Mr. Potato Head toys) gags and family-related gags. This version of Mr. Potato Head appears to be the vice president of new product testing, which I can see fit the character since the characters are still portrayed as toys, except that they are alive all the time. Another thing is that the characters are actually much tinier than the rarely-seen humans.
The reason for this comic strip's short-lived run isn't quite clear. A website that I checked for the reason indicated that the decline of interest in comics within newspapers is the chief reason, but it would not be surprising if it's also because the comic strip isn't wholly impressive as a whole. A short licensed run might also be a possible reason but if that were the case it would've had an ending, which this comic strip doesn't have (it ended on a regular gag strip). It is a decent comic strip and even has unique Sunday title panels like Garfield, but I have to imagine that his portrayal being different from the Toy Story incarnation is part of why it's not a captivating comic strip. Since this comic strip existed during the internet age, somebody was able to extract digital copies of each comic strip to read.
Mr. Potato Head comic strips can be read at the Garfield Fandom website: https://garfield.fandom.com/wiki/Mr._Potato_Head,_July_2001_comic_strips
Here, we see Mr. Potato Head eating chips. Make of it what you will.
Diamond Lil
Finally, we reached the last of the comic strips, which is not worked on by Jim Davis at all, but by his apprentice Brett Koth. It wouldn't make sense to include this comic strip since it wasn't done by Jim Davis, but I felt that it would've been appropriate to include it here since it symbolises the independence of Jim Davis' co-author. That's not to mention how this comic strip has some similar beats to Garfield while combining with the author's own sense of style. Much like Garfield, this comic strip has three panels on the standard days, which as you might recall is not very common compared to single panels or four panels.
Beginning on September 2010, this comic strip is mainly about an old lady named Lillian Bilious, who is 75 years old and is not afraid to speak her mind, not to mention how she is not afraid of dishing out retaliation when she is inconvenienced. She is joined by several senior folks with their own eccentricities, some unusual characters like the Grim Reaper, as well as a few younger folks like a boy that occasionally visits Lillian and a beleaguered retail worker. The contents of the comic strip itself are more or less balanced between verbal jokes and physical jokes, which can involve wordplay (something that is never seen in most Garfield comic strips). One particular theme that is sometimes seen is how Lillian gives an eulogy at the funeral, though it is so undermined by one-liners that the attendant had to call her off the podium. This is a good example of how being independent in a comic strip provides an author with more agency on how they get to convey their ideas.
As to what I think of this comic strip, I think it's a decent and competent comic strip that has moments that I enjoyed, but quite a few times I thought a few of the gags were a bit too much. It is certainly a very different take on a comic strip on senior people compared to Pickles, which is gentler and more wholesome compared to this comic, which has the advantage of having more physical action and dynamic that makes it easier to enjoy at first glance.
Diamond Lil (since May 2003) can be read at either https://www.creators.com/read/diamond-lil or https://www.gocomics.com/diamondlil
The first Diamond Lil comic strip
Thank you for reading.
References
Site Seeing
Written by: Lakituthequick (talk)
Hello dear readers and welcome to Site Seeing, in which I'll go over some of the websites Nintendo releases to inform the public about their games and series!
Today's episode could be considered pretty flat: it's the site for Paper Mario: The Origami King!
Overview
This site generally has a structure we've seen several times in the past: a home page that functions as an overview, and a few other pages detailing those things.
We start off with an animated banner version of the main box art, followed by a call to action to purchase the game or watch the trailer.
Scrolling down, we encounter a shortened montage of an in-game cutscene that takes place early in the story, showing the moment King Olly's streamers take over Peach's castle, and Mario and co. escaping in a Koopa Clown Car.
What follows then are three sections that, as usual, give an idea of the contents of the other pages.
The first one gives a brief introduction to the game's story. It introduces Olivia and King Olly, and allies such as Bowser, and starts Mario, Olivia, and King Olly in short animations around the box.
The second section introduces gameplay, featuring a short clip of Mario jumping on a row of Goomba's, and also starring an animated Swoop next to that.
The last section again calls towards purchasing the game. It features the North-American box art, Luigi in a presenting pose, and a mushroom at the bottom.
The first subpage is Story. The first thing you see on this page is a video montage that shows the five streamers in the regions they are respectively located in. Following that is a card with a longer introduction to the game's story, as well as an animated King Olly and an origami Princess Peach, who are introduced in the story.
Further down, another video montage is shown, this time showing a number of allies, and then an interactive gallery of characters, among which Mario, his partners, and a few NPC's you run into often during the story. This gallery is topped off with animated art of Mario, Bob-omb, and Olivia.
Onwards, the various locations in the game are shown, with a small video montage, blurb, and an interactive gallery containing videos and blurbs for seven areas.
The page ends with a red Toad smelling a red flower, and a button to go to the next page.
The next page is Gameplay, and shows more video footage, this time of the ring battle system in action. After that, some gameplay features are introduced, among which are the ring battles, enemies, and Mario's origami abilities. Then, more specific info is given about ring battles with video footage.
Below that are the bosses, including the Legion of Stationary, of which three members are shown in an interactive gallery. Vellumental bosses are also introduced, showing off the Fire Vellumental.
Further down, the 1,000-Fold Arms and its abilities are shown off, the Toad rescue missions, and a montage of fixing holes in the environment with confetti.
This page also ends with a Toad and a button. This time, it's a yellow Toad next to a yellow cat.
The last page is the Buy page. This one shows the animated box art again, followed by information about the price, eShop, and places to buy the physical version (in North America). The boxes are decorated with an origami and a regular Goomba, and an origami Fire Flower and Star.
Design
Of course, the game being all about paper, this website follows a paper motive for pretty much all aspects. The background is based on the walls of Peach's castle, and section backgrounds use crumpled paper of various colours. There is no single colour scheme, although most buttons and frames use orange-yellow, not unsimilar to Olivia's dress and crown.
The crumpled paper sections have messy edges, as if cut very fast and uncarefully. Narrow sections, serving as banners, also made of crumpled paper, have straight jigsaw edges, showing more careful cutting with jigsaw scissors. On two occasions, straight streamers are used instead.
Section boxes are made to emulate signs screwed onto the background, but made of paper. Videos and screenshots accompanying these boxes are embedded in orange frames with the corners cut off. The bigger interactive galleries use the same frame style, but have them overlap with other items in the gallery that switch around as the arrows are clicked.
Buttons and the main menu also use the yellow-orange colour. The menu is white with the yellow for the border, buttons are the other way around, with ones on a white background using a black border instead. The interesting thing however, is the effect when hovering over them with the cursor: they tear open and reveal the opposite colour underneath as the paper dangles. Fairly simple effect, but it adds a lot of life.
The main attraction is the animated artworks that are scattered around. It's immediately apparent for the hero box art banner at the top of the home page, as well as individual artworks of Mario with Olivia and Bobby, King Olly, a Swoop, a Goomba, Mario with the fold arms or confetti, and three cases of Toads with their folded counterparts. Seeing a lot of sites usually use static artwork, sometimes rotating or scaling, these are a lot more lively and add personality, which is very neat.
Tech
This part may not be of interest to everyone, or may you even understand any of it. But it can be interesting to some people who are curious about some of the technology used to create this site.
Summarised: this site is a single page application built with Vue.js, uses Create.js for animations, and is hosted on Amazon Web Services.
Vue.js is a popular framework to build single-page applications (SPA) with. A SPA makes sure you only load a site once, and no new pages need to be loaded when you click on a button or link. As the site or app is already fully loaded and interactive, only the visual content needs to be replaced when you click on a link. At the same time, the URL that appears in the address bar is still updated (using the History API), so it is still possible to link to these virtual pages.
As for Vue.js itself, it allows the developer to easily write interactive applications. Simply by updating the app's 'state', the framework will update the page as needed, without the dev having to worry about that too much. It also allows the dev to build reusable components that can each maintain their own state.
This site also uses Nuxt.js in the background, a static site generator. This can prerender a site, so it can be displayed before the SPA has fully loaded, or even work when JavaScript is not enabled by the user. The latter point, however, is not applicable to the TOK website, it requires JS to function.
I have talked about the Create.js suite a few times before; it seems like it is popular among Nintendo's microsite developers. To summarise, it is a collection of libraries that abstract away the handling of more advanced graphics and sound in JavaScript to make it more easily manageable, as well as making it possible to easily create animated content.
In our case, it uses EaselJS and TweenJS, used respectively for drawing on the canvas and creating smooth animations with keyframes. I have talked more about these last December.
It goes without saying, now I've talked about this suite, that these are used for the various animated artworks throughout the site. It also goes without saying that creating all of those with just JavaScript code is very cumbersome. Luckily, they had help: the animations have been created with Adobe Animate. Animate is able to export animations as HTML files, which very likely is what generated the Create.js code. Iframes are used to embed the animations into the site itself. In other words, while I talked about Create.js above, it is very possible the developers of this website didn't even think about it!
Finally two small details: the ripped and crumpled paper uses an SVG clip-path to create the roughly cut edge. On the other hand, the saw-tooth edges are created using a canvas. Why this difference? We shall never know.
Conclusion
A very lively site for a very lively game. All the little animated details and the videos make this site very interesting, both to visit and to dissect functionally. I like this site a lot! There's not one thing I don't like.
And that marks the end of this month's Site Seeing! I'll be back on schedule next month, and as it's October, it's bound to be spooky. See you then!
Pixel Perfect
Written by: InsaneBlathers (talk)
Hey everyone! I'm the new owner of this nook of the 'Shroom. I shall be making and presenting various pixel art characters for your enjoyment!
Assorted Spritework
First, I thought I may as well share this, um... rather simple sprite. It's Mario's SMB2 sprite, freshened up with a modern look!
Next up there's a non Mario-related thing that I'm rather proud of. These are NES-style sprites of characters from a D&D campaign I'm currently running. I made them by creating sprites in the universal LPC sprite maker, then editing them and recoloring them to give them that retro flair.
I also made these Undertale sprites for... some reason. Mostly just practice, but I like how they turned out!
Finally, there's this. It's the interior of an underground tavern, complete with various Mario characters. Do you recognize anyone here? :)
Craving more? Don't fret, I plan on returning to the 'Shroom in November, so look forward to that! Until then, stay super!
World of Plight
Written by: Magolor04726 (talk)
(Special thanks to Arteeist, Hooded Pitohui, Roserade, and Booguette for helping with these entries!)
Sonic
Louie is back!
Luigi is back! (Apparently his name is Lui-gi and not Louie G. Who knew?) Gotta admit, he gave us all a real scare when he showed up in the Main Menu Mess Hall. And he seems to have lost his memory, which I guess isn’t good. I can’t even imagine what that would be like! Imagine looking in a mirror and having a total stranger looking back at you!
I was enjoying my daily lunch-chili-dogs when Sakurai walked in wearing a smile I hadn't seen on his face in a while. He cleared his throat and said, "Everyone I have an announcement! We've had a break in our missing person's case!" He paused for a second. "Luigi has returned!"
My jaw just about hit the floor when Luigi walked in.
Everybody instantly roared in shock and several people stood up to greet him. Before anyone reached him, I dashed over and swung him up on a table, holding him over my head. "Louie's BACK people!"
Everyone cheered and a chant of "Lu-i-gi! Lu-i-gi!" started.
"Mamma mia!" Luigi exclaimed. "Can I get down now?"
"Come on dude!" I replied. "You're gonna be treated like a king! Enjoy it while it lasts!"
I dropped him onto the bench and hopped down next to him. "So? Where'd you go?" I asked before I took a bite out of my chili-dog.
"I... don't remember."
"What?!"
"I have-a amnesia."
"'You have a magnesia?' What's a magnesia?"
"Amnesia," Sakurai said as he walked over. "Is a trauma-induced lapse of memory, in this case, Luigi has lost his memory of everything from the Halloween party to now."
"Woah, that's awful. Wait, does this mean you don't remember ANYTHING about where you went?"
"Not a thing."
"And while I'm sure he appreciates the company, I think it would be better for him to sit with those closest to him," Sakurai said as Luigi stood up. "They may be able to stimulate some memories."
I stared at him for a second. "...Makes sense. See you Louie!"
As they walked away, I leaned over to Snake and whispered, "Something is definitely up here. I'm gonna contact Vector and see what he thinks about this."
Mewtwo
Self-imposed isolation is truly a fickle situation. There are days I long for contact with others beyond the occasional wild Rowlett, but I must keep my power from those who would harness it for evil intent. At least the facilities at Smash are more tailored to me and not merely a stone hole in a wall like Cerulean Cave.
It truly was a comfort to know that there is a place such as Smash where I could be without fear of others coming after me. But now, I have my suspicions about what may truly be going on behind the scenes of these heinous crimes. I fear that someone may be
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A word of advice: Banging your head on a keyboard is not a way to solve any situation.
It's Mags, unfortunately. Mewtwo has gone missing! He didn't come to lunch or dinner yesterday and when he didn't show up for breakfast this morning, his room was checked and he was gone! There was evidence of a struggle in his room, but no fingerprints or anything of the sort. And he was about to give his input on the situation too! Whoever is behind this is really upping the game and the stakes. I have this nagging feeling that we're almost on top of it, that something is about to happen, but I can't put my finger on it.
For now, all we can do is search and wait.
Hey guys! Thanks for reading World of Plight this month! If you have any leads for me to follow, (PLEASE!) contact me on the Mario Boards.
Eating chili dogs,
Magolor04726,
Master Magician.
Shmaluigi, Private Investigator
Written by: Waluigi Time (talk)
My search for answers about the Killing Games brought me to the Despair Pub, a seedy establishment in downtown New Wikisburg with plenty of information to go around. After talking to the bartender, I was directed to a suspicious character named Pokerface who claims to have the information I need. Hopefully this isn't yet another dead end.
"So you can tell Shmaluigi when the next Killing Game will happen?" I asked him.
"Eh, not exactly. I know a guy who knows a guy who has that info," he told me.
"Oh, well then can you tell Shmaluigi where to find them?"
He smirked in response. "That's not how this works. You don't contact them, they contact you. Gotta keep this kinda stuff on the down low when it comes to business like this. I thought an 'ace detective' like you would know this."
"Alright, what does Shmaluigi have to do?"
"Give me your number and I'll get it to my guy who can get it to their guy. They'll call you with instructions when they're ready. Be sure you answer the first time."
I wrote down my phone number on a piece of paper and slid it across the table to him.
"Cool. We're done here," he said.
That was it? There was no way I was getting this for free, right? "No catch?" I asked.
"Nah, no catch."
Well, I certainly wasn't going to complain about that. I left the pub and started walking back to my office. Nothing I could do now but wait.
Several days passed with no contact from this mysterious person. I was beginning to wonder if they were even going to call at all. Maybe I was just being impatient. Maybe I was being paranoid and overthinking this, even. But this was my last lead, and if this didn't pan out, I'd probably have to drop the whole thing. I wondered how much longer I should keep waiting... I went to bed, hoping once again that tomorrow would finally be the day something would happen.
I was woken up in the middle of the night by the sound of my phone ringing on the nightstand. Wondering what time it was, I took a moment to look at my alarm clock. 2:01 in the morning? Seriously? I answered anyway, hoping that this was the mysterious contact at long last.
"Shmaluigi, private investigator," I mumbled, still trying to wake up.
A garbled voice came through the phone. "Boo Woods. Tuesday. 9:00 pm. Be there if you want to see the Killing Game."
With that, the mysterious voice immediately hung up. I quickly grabbed my notebook and wrote down the details. I was too tired to give it much thought at the time and quickly went back to sleep.
Finally, the day was here. After making the necessary preparations and travel arrangements, I arrived at Boo Woods around 8:00. Waiting around for an hour may not be a lot of people's idea of fun, but hey, better that than being late and missing out on the whole thing. I was pretty nervous about the investigation, but excited to get to business, kind of like how I feel whenever I'm on my way to a mafia investigation. As I walked through the forest, keeping an eye out for anything that looked odd, my mind started wandering.
Thinking back on what led me up to this point, I couldn't help but feel that it just seemed too easy. Actually getting to this point took a lot of research and investigation, sure, but once I got to the Despair Pub, everything was smooth sailing. I talk to a guy, and he gives me the information I'm looking for. No payment, no catch, nothing. It was almost as if someone wanted me to be here, and frankly, I wasn't sure if that was a good thing or a bad thing.
As I walked into a clearing in the woods, I suddenly felt something hit the back of my head and everything went black.
When I woke up, I was tied to a chair in a dark room, lit only by a single lightbulb hanging from the ceiling. As I looked around for any clue about my surroundings or possibly something I could use to escape, a dapper Monty Mole walked into the light. We had never met personally, but I recognized him immediately. My greatest enemy, Monty Brando.
With every part of me that hated Mr. Morris, I despised this guy probably ten times as much. He was the boss of one of the most powerful mafia in the Mushroom Kingdom, but that's not exactly why I considered him to be my greatest enemy. Oh no, it was far more personal than that. Years ago, I lost what I loved most, all thanks to this scum. From that day on, I swore I would dismantle his organization and every other lousy mafia that popped up.
"Shmaluigi, we meet at last," Brando said in the usual calm demeanor he was always noted for.
"Monty Brando..." I snarled at him.
"Ah, good, so you do recognize me. I thought IG may have hit you on the head too hard when he brought you here. I was hoping we could have a chat before getting down to business."
"Shmaluigi doesn't have time to deal with the likes of you right now! He's on his way to investigate the Killing Game!"
He chuckled. "Shmaluigi, Shmaluigi... How can someone be so intelligent, yet so dull? How amusing."
I was confused. "Wh- what are you talking about?"
"Do I really have to spell it out for you, detective? There is no Killing Game. There never was any Killing Game. I have eyes and ears everywhere, Shmaluigi. I knew exactly what you were up to, and I knew if I had false information planted in the right places, you would walk right into my trap. And here you are..."
I couldn't believe what I was hearing, and yet, it made perfect sense. Everything I had thought about was right. Someone indeed wanted me to be here, but it was more nefarious than I ever could have imagined.
"Here's the deal, Shmaluigi. I know you've been trying to destroy my organization since you joined the NWPD. I didn't pay it too much mind at the time. You weren't the first overzealous rookie to try something like that, and I have no reason to believe you'll be the last. Nothing ever came of it, of course, and I assumed you were just another two-bit detective. But that all changed a few months ago. You ran off to Rogueport, studied under that Fulbright character, and helped to dismantle that prosecutor's mafia in the span of less than a week. That's when I realized you just might be a problem after all. I thought when I heard of your demise at the sheep pasture that it was the end of you, but then you came back... So this time, I'm going to make sure you're taken care of. Permanently."
Brando motioned and a spindly looking robot with mismatched parts stepped into the light, its feet clanking loudly on the floor. "IG?"
"Ready and awaiting orders," the robot droned.
"Terminate him."
"Proceeding."
My life flashed before my eyes as the robot raised its gun at me. Suddenly, a bucket fell on its head from the ceiling.
"Error. Vision obstructed," the robot said, putting away its weapon to try and remove the bucket.
As I looked around for where it could have came from, a familiar avian landed on the robot's shoulders.
"HONK HONK HONK HONK HONK! (I APPROACH THEE IN ORDER TO ENGAGE THEE IN BATTLE FORTHWITH!)" exclaimed the goose as he shoved the pointy end of his signature pipe into the robot's mechanical chest.
"Manufacturer's protocol dictates I cannot be captuuuuuuured..." the robot said as it deactivated and fell to the ground in a pile of scrap.
"Mr. Goose?!" I exclaimed.
"Honk honk honk honko honoko hoonk. (My warmest salutations and greetings, my most esteemed compatriot, but an inkling has chanced upon mine attention that there exist dark schemings against your person.)" Mr. Goose said before cutting the ropes with a single bite of his bill. "Honk honnnk. Honk honk! Honk honk. (Come, we have not time to dawdle and make acquaintance. It behooves us to fly, at once! Ah, 'tis a mere figure of speech for yourself.)"
"Wait, where's Brando?" I wondered aloud, just before a red bolt of light shot out of the darkness straight towards me.
"Time to take matters into my own hands," Brando said as he stepped into the light, holding IG-11's gun. That was no gun, that was some sort of sci-fi laser blaster! "Goodbye, Shmaluigi."
I skillfully dodged every single one of Brando's laser shots across the room. Okay, actually, I probably looked more like a Cheep Cheep flopping around out of water, and at one point I tripped over something, but the important thing is that I didn't get hit by any of the lasers. Luckily, I was eventually able to take cover.
"You're quite the tenacious one, detective, but don't think you can outsmart me," Brando said, pausing between blaster shots. Just then, I heard a familiar honk followed by the sounds of a struggle. "What the- Let go of that, you bothersome waterfowl!"
"Mr. Goose?" I said, peeking up from the object I was hiding behind, not that I could see much in the darkness of the room.
"Honk Honk honoka! Honk honkella! (Let not your mind be troubled, my dear Sir Shmaluigi! I have taken the liberty of seizing the foul trickster's armaments!)"
Relieved, I came out from behind the cover and went over to Mr. Goose and Monty Brando. I had waited for this moment for years.
"You're finished, Brando. Prepare to face justice!"
"Such hubris... Until we meet again, detective," he said, and before we knew it, he had burrowed down into the dirt floor and tunneled away.
"Honk! Honk honkuso he-onk! (Fie! The dastardly fiend has thusly absconded!)"
"Slippery little mole... Well, at least we both got out of that unharmed. Thanks for the help, Mr. Goose. Shmaluigi owes you one."
"Honk honk hoonk henk. (Be cordially assured, my friend, the pleasure resides in entirety with myself.)"
"Alright, let's get out of here. Uh, help Shmaluigi find the door."
I walked into the Sipping Time Cafe, and as usual, I was greeted by the Shy Guy working the counter. "Shmaluigi! How's my favorite customer?"
"Doing good today," I replied.
"Glad to hear it! The usual?"
"You know it."
"Hey, how did that 'Killing Game' thing turn out? You ever get to the bottom of that?"
"Ehh, it's a long and complicated story."
"Maybe you should write about it sometime. Ooh, or maybe you could have some kind of non-fiction TV show! Anyway, one Shmaluigi Special to-go."
"Thanks."
Just the way I like it. My favorite coffee back at a semi-reasonable price. As I walked back to my office, I started to think about things. Even though the whole Killing Game investigation turned out to be a dud, somehow, I felt better. Even that JojaMart construction site didn't bother me anymore. Well, not that much, anyway. Someday I would redeem myself for the blunder at Fred Pasture, but honestly, I didn't really feel like I had to anymore.
More importantly, someday I'll honor Ms. Skye's legacy and finish what she started. Someday...
The End
Thanks for reading the conclusion of the Hidden Mansion arc! I hope you enjoyed it. Shmaluigi may not be investigating any haunted mansions anytime soon, but check back next month for a spooky Halloween edition of Shmaluigi, Private Investigator! Special thanks to Luigi 64DD for writing the dialogue for the goose, it was great to have him on board.
Interested in an audio version of this story? Check out Magolor04726's Shmaluigi, Private Investigator YouTube channel! New videos are uploaded shortly after the release of each issue of The 'Shroom, and you can also catch up on all the other stories so far.
GoldenMario 007
Written by: Long John Spaghetti (talk)
It was cold in Russia. Not that it’d be a problem for Mario. The adrenaline pumping through his veins warmed him up as he rushed through the facility. He was careful not to be noticed, though. If Mario did his job right, then the majority of people shouldn’t know he exists. Unfortunately for him, he was the world’s most famous secret agent. That means a lot of people knew he existed. Given his job as a secret agent...that wasn’t a good thing. He had to be extra careful sneaking around the dam. If so much as one person saw him there, he was guaranteed to die.
He peeked around a corner to see two guards talking to each other.
“Hey, Jeff?”
“What’s up, Dale?”
“Do you think blimps are a bad investment?”
Get a load of these idiots, Mario thought to himself as he shot them with his silenced pistol.
Mario walked past their bodies and up to the satellite. He took the covert modem out of his vest pocket and hooked it up.
That oughta do it.
Mario hopped off of the platform and made a beeline for the middle of the dam.
“HOLD IT RIGHT THERE!!”
Gulp. Mario turned around and found himself face to face with what seemed to be the operator of the dam.
Goddammit.
Mario quickly shot him and made his way to the middle of the dam, attaching his bungee cord. He shot a glance down. It was a long way, but regardless…
Mario made the jump.
Koopamon
Written by: Booguette
File 2: Beyond Power-up Town
Last time, Mario and Luigi got their very own Koopamon from Professor E. Gadd. Luigi asked Mario if he wanted to battle to test their new Koopamon, and Mario agreed.
Professor E. Gadd asked, "You boys know how to do battle with your Koopamon, correct? Because if you don-"
“Yes, Gramps, we know how to battle with Koopamon. No need to tell us. Now go, Beach Koopa!”
“Go, Fire Bro!” And the battle began.
Fire Bro had the higher speed, so he went first. “Fire Bro, use Scratch!” Mario called out. Fire Bro ran to Beach Koopa and slashed at him with his pointy fingers.
“Beach Koopa, use Tackle!” said Luigi. Beach Koopa tackled Fire Bro and sent him tumbling backwards.
“Fire Bro!” called Mario. Fire Bro got up and gave its trainer a determined smile. “You’re okay? Good. Now use Growl!”
Fire Bro made a distinctive “He-ah!” growl at Beach Koopa.
“Trying to lower our attack’s power, eh? WELL, TOO BAD! LUIGI TIME! Beach Koopa! Use Tail Whip!” Beach Koopa turned around and waved his little tail around, lowering Fire Bro’s defenses.
“Fire Bro, finish it with Headbutt!” said Mario. Fire Bro ran up and leapt right into Beach Koopa. Beach Koopa and Fire Bro tumbled across the floor, and when Fire Bro got up, and Beach Koopa was on the ground looking dazed, it was obvious that Fire Bro had won.
Shy Guy's Cool and Hot Jams
Written by: Shy Guy on Wheels (talk)
Hello! Hi! Greetings! Bonjour! コンニチハ！Welcome to my new and improved Shroom section! So improved it literally has nothing to do with the old one. The purpose of this section is to talk about music without infringing on the rights of my other child, the Daily VGM Thread. Sometimes this could be a more in depth look at something that I've already brought up in the aforementioned thread, but don't really have the chance to expand on without another place to showcase it. Other times this could be things I would never be able to cover in the thread, such as arrangement albums, or music unrelated to game entirely. It doesn't even have to be about an album or a game soundtrack, it could be a broad as talking about the history of a game composer, or games that use the Konami SCC. Essentially you'll be getting whatever's on my mind, that's related to music, once a month. Expect a lot of SEGA as well. I just really like the music in SEGA games. Of course, there should be no better way to start of a section that will talk about SEGA a lot, then by talking about SEGA. In this case, the soundtrack for Dengeki Bunko Fighting Climax.
Dengeki Bunko Fighting Climax
Dengeki Bunko Fighting Climax is actually a crossover game, but not between SEGA games like you might expect, rather between series released by the manga publisher Dengeki Bunko. Though, that's only half true, as while all the characters are from those series, the stages are actually based on SEGA games, and this is what makes the soundtrack of this game so cool. As each stage is based on a SEGA series, the music that plays on it is also based on that series, and considering this game itself is published by the company that owns those series and has the sound team that did the music for those series... I hope you can see where this is going. Indeed, many of the original composers reprise their roles doing the stage music for this game, and they do not disappoint.
A good example that most people should be able to understand is Jun Senoue's Seaside B-field, the music for the Sonic Stage. I'd say it's fair to argue that Jun Senoue's style is synonymous with the Sonic series at this point, with him having taken the lead for four main series games (Adventure (2), Heroes, and Generations) and three side games (Shadow, Black Knight, and Team Sonic Racing), so it should be no surprise that he did the music for the Sonic Stage. Of course, with a name like Seaside B-field, you might be expecting something along the lines of Sea Gate, an alternate take on the original Seaside Hill, but you couldn't be more wrong. Jun Senoue makes Seaside Hill's B-side into a song unlike the original in every way. Rather then an easily listenable song from first stage of the game that also happens to be a beach, Seaside B-field is prime material for fighting, with emphasis placed on synths rather then live instruments. I also think this helps Jun Senoue to avoid sticking out like a sore thumb when compared to the rest of the music, considering the only other songs with real instruments are two other songs where he contributed his guitars, and the main theme.
Cyphernetic Tornado, the song for the Phantasy Star Online 2, is by Hideaki Kobayashi, who did a lot of music for every episode of, not only Phantasy Star Online 2, but the original game as well, and it absolutely sounds like it was ripped straight out of PSO2, using many of the synths you can find in the soundtrack for that game. Naofumi Hataya contributes Higher Higher, the song for the NiGHTs stage. In all honesty I'm not super familiar with the music for NiGHTs, I'm just here for some Hataya bangers, and this song is absolutely Hataya in every way, with it's fast paced, upbeat nature, and frequent usage of high notes during the section at 0:43. A banger this is indeed, and my personal favourite from the soundtrack as a whole.
Not every composer was able to make a return for this games soundtrack however, primarily related to composers who don't work at SEGA anymore, or never did in the first place. As an example the music for Cyber Troopers Virtual-On was done by Kentaro Koyama who now works at XFLAG, so Mitsuharu Fukuyama takes the reigns for the stage based on the series, with Stand on the Edge. Cyber Troopers spiritual successor, Border Break, also has a stage, with it's music, Frontline, being done by Tadashi Kinukawa rather then any member of AM2 Sound Team. It's fantastic, taking a bunch ideas presented by the music of the series and turning into something new. It feels distinctly like a song from Border Break, despite the fact Kinukawa has never actually done anything for the game, before, or since. Finally we have the music for the 7th Dragon stage, 7th Crisis. The music for 7th Dragon was by Yuzo Koshiro, a freelance composer, so Tomonori Sawada does the music here. In a weird way, I'd actually say it reminds of Jun Ishikawa's work, with a retro game feel combined with techniques featured in modern electronic music, there's even a bit of wobble bass at 1:15. Like NiGHTs, I'm not familiar with the music of the 7th Dragon, but this is absolutely the kind of music I would expect from a more recent work of Sawada. It's a shame a lot of he mostly gets credited for sound effects rather then music, because I'd absolutely love to here more stuff like this.
There's also a stage based on Valkyria Chronicles, which even gets a night variant. The music of that series was done by Hitoshi Sakimoto of Basiscape, so instead they got the next best thing, one of the seventy sound directors of the game. In this case it was... Teruhiko Nakagawa, who is also the only person to do more then one piece of stage music, instead doing three of them (both Valkyria Chronicles songs, and Shinobi). If there's anyone at SEGA I aggressively do not care for, it's Teruhiko Nakagawa. For reference of who we're dealing with here, this is the man that did the Blazy Mixes in Sonic Rush, which I consider to be absolute butcherings of the original songs. This is the man that did the music for the first Mario & Sonic game, the only game in the series I do not care about the music for. This is the man where the only song by him I care about is a song from a Super 32X game released in 1995, a song that was also a collaboration with Masaru Setsumaru. So yeah, my opinion on his contributions? I don't find them to be very interesting. They're essentially just filler, and I skip filler when listening to game music. Ergo, I skip Teruhiko Nakagawa's songs.
Speaking of filler, cutscene music! The best kind of filler. Thankfully the cutscenes in this game are text based so there's a bit of creativity on display here, but not enough as to where I'll be wanting to listen to any of these, unlike many other songs in the soundtrack. The menu on the other hand? It's great. It should be no surprise really, I love music by Tomoya Ohtani, and the chances of me saying anything bad about his music are virtually non-existent. The main menu music, Emotional Buzz has some powerful bass, alongside a melody that is bound to stick with you. The special menu decreases the bass and puts the focus on a piano, giving it a more introspective feel. There's also the main theme of the game, FIGHTING CLIMAX, it's a rock oriented song by Kenichi Tokoi with vocals by Mie Sonozaki. If you hate good music, there's a "vocal-less version" included in the soundtrack. Neat.
There's are actually a few songs not by SEGA SOUND TEAM, instead these songs are by Tomoyuki Nakazawa and Yui Isshiki. The latter of the two contributes fight related music that isn't for the stage themselves, so the character select theme, and the pre and post battle jingles. Envoy of Hope, the character select theme, is the standout of his songs, combining electronic elements, guitars, and even a siren in the background. Tomoyuki Nakazawa does the music for the Virtua Fighter stage, Fighting Blossom, which ends being okay. It has a trance-y feel to it, but nothing about it ends up seeming that memorable to me.
And that's everything... or at least for the original Dengeki Bunko Fighting Climax, the game got an updated release in 2015 under the name Dengeki Bunko Fighting Climax Ignition, unfortunately the game never got a soundtrack, however two songs from it were included as part of Jun Senoue's The Works II. Both tracks are obviously by Jun Senoue. Unlike what I said about his other contribution to the game, I feel the two songs featured in this album are rather out of place when compared to the rest of the soundtrack. They follow Jun Senoue's usual rock based style, using real guitars (by Jun Senoue), drums (by Act.), bass (by IKUO and Takeshi Taneda). They end up feeling more like songs made specifically for the album then new songs for the game. Not to say they're bad or anything, just that they clash with the rest of the soundtrack. Sparklers, the new main menu theme, is my favourite of the two. It's a little on the short side, but it's a lot fun, and even involves some electronic elements, with some laser-like synths being used to compliment the lead guitar.
Goodbye
And that is actually everything this game has to offer. One interesting thought I had while typing all of this out was "as this is the first part of my new section, and this soundtrack is referencing a bunch of SEGA series, could this be a good introduction into music from SEGA games?" The answer to that, I would say is no. If you're looking for that, I'd recommend the music in Sonic & All-Stars Transformed, which has more dance oriented takes on a bunch of a classic SEGA songs. It directly remixes and arranges many songs from the original game, rather then trying to make something reminiscent of them. This game on the other hand only really takes inspiration from about half as many games. What makes this soundtrack so interesting is knowing about the music for these games and the composers behind them, and hearing music similar to what you would hear in those series. To someone unfamiliar with all of that, this may just seem like a decently coherent game soundtrack. Case in point: Ocean View is an arrangement of Sonic - You Can Do Anything from Sonic CD, and Super Sonic Racing from Sonic R. Seaside B-field references the Sonic series in name only and maybe by the fact it's by Jun Senoue (a person who has done many things that aren't Sonic).
One more thing before I leave though, a while back I made a playlist of all the songs I like from the game, the order differs a fair bit from the official soundtrack. I thought it would be a fairly relevant thing to add here, so you can know not only what I consider to be good music, but also critique my organisation skills. This won't be a common occurrence of the section, but I thought it would be nice to add here as I already had it lying around. If you'd like to know a bit more about the things I didn't discuss here, such as the people behind songs that weren't mentioned, I would recommend checking the info on VGMdb, which is generally a good resource for game soundtracks.
That is all. Goodbye.
| The 'Shroom: Issue 174 | |
|---|---|
| Staff sections | Staff Notes • The 'Shroom Spotlight |
| Features | Fake News • Fun Stuff • Palette Swap • Pipe Plaza • Critic Corner • Strategy Wing |
