During E3 2001 Nintendo accidentally published in an online release document the listing of 3 unknown and unannounced titles in development. Quickly after its debut in worldwide public visibility the viral Nintendo document’s source was promptly removed, but not a moment however before the curiosity of an industry had ignited.
Later, Space World 2001 event scheduling featured several developer discussion panels and among those presented in particular was a Roundtable with Miyamoto-San at helm, where the Nintendo executive himself previewed briefly the software simply titled “Marionette” after he had been eagerly questioned about the mysterious aforementioned release list leaking almost 15 years ago today outted the puppet plot.
The experience focus spanned across both the N64 and GCN platforms collectively in its history leading up to that time shrouded at the popular development head formerly known as EAD, the underlying asset production of Marionette ofcourse overseen by Shigeru Miyamoto, in Japan.
The promise of the target concept was to accurately allow VG players to manipulate a character in conjunction with a Marionette. The term Marionette coined in France is defined as “Little Mary” dating to the Middle Ages, when the most popular format for general entertainment came by way of stringed puppets and their Biblical depiction of events (more importantly of which involved figure of the Virgin Mary), whom not by coincidence is in fact the first Marionette fashioned character ever operated.
Marionettes physicality is simply a sturdy handheld structure comfortably comprised of a vertical control bar crossed with a horizontal control bar, both of which together attached to a network of wires or string leading to the limbs of a character anchored below. The puppet master above with Marionette in hand is therefore inherently responsible for the character’s behavior below and is traditionally among various forms of theater successfully hidden from the audience behind paper or wooden walls, which themselves alternatively serve as base illustration setting the general graphics and environmental theme in which the characters therein ambulate the necessary scenes.
Developers close to the project revamp overseas, have stated to members of our editorial staff that the Puppet adventure is projected to breath strong life into Nintendo Labo and Joy Con technology proprietary to Nintendo’s Switch platform well into 2019. Artists are encouraged to customize stages using the plethora of provided colors and possible constructions exclusive of Nintendo Labo pallets and templates to positively bring to life a form of Mario never seen before thanks to 3D motion tracking within the Joy Con, and the non contact sensing abilities when functioning in the new realm of Nintendo Labo, (specifically it’s separation from players and the control inputs within Nintendo Labo interface being that of mere string and paper in between).
While it’s easy to imagine the technical direction the discussed elements at play will lead to, nobody can accurately imagine how large of an potential impact Miyamoto may have again this generation as Mario ushers in the next new era of digital software interaction from Nintendo.
More news coming as the story here and surrounding details develop, if, are as Diltendo expects them to.
Note-this article and its relevance will update accordingly.