Mario squares off against his original foe--and this time with extra help!
Donkey Kong™ just made off with all the Mini-Mario toys, and now it's up to Mario™ to chase his long-time nemesis and retrieve the stolen goods.
Leap and battle through increasingly difficult levels as you use switches, conveyor belts, hammers, and more to overcome the hordes of enemies that block your way.
You need brawn...and brains! Figure out the best path, then break out new Mario moves like the handstand to track down keys, collect gifts, and navigate perilous platforms across barrels of levels.
Before battling Donkey Kong at the end of each world, collect all the Mini-Marios and lead them to safety!
A portion of a SoundArchitect interview with David Wise...
SA: Now you’ve composed for really iconic games, one of which is the excellent Donkey Kong Country series. Tell us a bit about your work on those and what your approach was to those games?
DW: My approach to those games was centred around making the most of the 64k of memory available for audio in the SNES Audio Chip. I was heavily influenced technically by a keyboard called the Korg Wavestation. This re-sequenced very small samples in different orders to make very ethereal sounds with movement – using very little memory – so I adapted the technique for the SNES.
I had also purchased a Saxophone – and was very inspired by Big Band and Latin music.
Also – I had started listening properly to the sound tracks of animated family movies – how they go straight for the Cliche – and define that cliche even further. These were the main influences when composing the DKC soundtracks.
SA: Have you intentionally drawn on a lot of your previous work to infuse Yooka-Laylee with that nostalgic feel?
DW: I think nostalgia is very important in any experience. As a team we’re all very lucky to have lots of experience to draw on, and hopefully the audience will all benefit from our combined pedigree.
977 coins total now :) pic.twitter.com/s6VYXGesck— Isotarge (@Isotarge) January 28, 2017
It was previously thought that there were 976 hidden coins in Donkey Kong 64. Speedrunner Isotarge has now proven that the real total is 977, as he's discovered a hidden rainbow coin. The coin is hidden in a dirt pile, which is in turn, hidden in tall grass. You need to use a slam to unearth the coin, but you'd never know it had any chance of being hidden there due to the tall grass! Isotarge only found the coin when he was picking apart the inner-workings of the game an noticed something in the data that indicated a coin that hadn't been collected.
The following comes from Stephen Radosh, the man who was responsible for bringing Mario and Zelda to the CD-i...
- Radosh left Atari and landed at Sega
- Radosh mostly worked on arcade cabinets-
“Somehow Sega had gotten the rights to Donkey Kong. (You played as Donkey Kong, who was a parking attendant) You were dodging cars that were pulling in and out of the lot, and you had to get X number of cars parked in spaces.”
As you can probably guess, the game never saw release. Man, wouldn't a prototype of that game be an absolute goldmine for collectors!
A portion of a GamesTM interview with former RARE dev, Kevin Bayliss...
On redesigning Donkey Kong…
“It was straightforward, surprisingly! I got the word from Tim that we were going to be resurrecting Donkey Kong for our 3D project, and, after receiving some black-and white drawings from Nintendo showing the classic DK character, I got started. I wanted to make a heavy but compact-looking character and some of the first sketches were very chunky. There were a few concepts that a guy at Rare – James Ryman, a fantastic artist – produced, but Tim wanted to use the design I had sketched up as a starting point because DK’s proportion suited the platform game that we were going to create.”
On how the inventive designs for Donkey Kong Country’s other characters came about…
“Being located near to the famous Twycross Zoo meant that we had a collection of wild animals to explore just a few miles up the road. So we’d take our cameras and study the specimens they had there, which helped us come up with ideas. None of the crocodiles had crowns or body armour, but we just tried to make them look funny and memorable! Steve Mayles, Mark Stevenson, Ed Bryan [and I] all had wacky imaginations when it me to coming up with typical ‘Rare’ characters, and we still do – as you’ll see in Yooka-Laylee. Luckily we are still located close to the zoo, and so if we need to study behavior, we can take a ‘working trip’ to watch animals with an ice cream!”
On going from Killer Instinct to Diddy Kong Racing for the N64…
“I was excited to begin working on another genre that I love, and there was a new kid in town – the N64. This changed everything, and after seeing Mario 64 I just wanted to create something that really felt as though you were immersed in a little world inside the console. 3D was new, and after working on a violent game, it was nice to focus on something that was cheerful, rather than something with a menacing undertone. It was very refreshing, and a welcome change for me.”
On the background to all the changes made to Star Fox Adventures…
“The game started off with a tiger character running around and I’m sure we had a small dinosaur running around with him. After looking at Ocarina pf Time we wanted to create a huge 3D adventure that would [have] him travelling through a world filled with prehistoric monsters. However, soon we changed it in to a Wolf, it caught Nintendo’s eye. It was suggested that rather than try to build a new universe, we should create a new Star Fox adventure. The game was looking fabulous, even on N64, but with the system coming to the end of its time, the decision was made by Nintendo for it to be released on the new GameCube system, which was sensible.”
On meeting Miyamoto…
“I loved that trip, but to begin with I must admit I was a little homesick and slightly concerned about the language barrier. But immediately upon arriving there with Lee Schuneman and Phil Tossell, we were made to feel extremely welcome. The next morning, we went to the Kyoto office to discuss ideas for the story that would explain Fox McCloud embarking on his next adventure. We were taken to the Fushimi Inari Shrine for a little sightseeing and learned some Japanese myths about animals. Foxes in Japan are seen as heroic animals, and any seen around the temple are viewed as guardians. This was a real eye-opener into Japanese culture [and] showed us why certain animals are chosen as specific characters in Japanese videogames. We spent the whole week in the meeting room, with drawings all over the place, and I swapped ideas with the creator of the Star Fox characters – Takaya Imamura. We all came up with the story behind the game, and Shigeru Miyamoto very politely gave his input, before eventually reaching a design plan.”