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Mother 3 is a role-playing video game developed by Brownie Brown and HAL Laboratory and published by Nintendo for the Game Boy Advance. The final entry in the Mother series, it was released in Japan on April 20, 2006. The game follows Lucas, a young boy with psychic abilities, and a party of characters as they attempt to prevent a mysterious invading army from corrupting and destroying the world.

Mother 3
Deluxe package.jpg
Japanese box art
Developer(s)
Publisher(s)Nintendo
Director(s)Nobuyuki Inoue
Producer(s)
Artist(s)Nobuhiro Imagawa
Writer(s)Shigesato Itoi
Composer(s)Shogo Sakai
SeriesMother
Platform(s)Game Boy Advance
Release
  • JP: April 20, 2006
Genre(s)Role-playing game
Mode(s)Single-player

Like previous entries, Mother 3 focuses on exploring the game world from a top-down perspective and engaging in turn-based combat with enemies. Its development spanned twelve years and four consoles, beginning in 1994 for the Super Famicom and then transitioning to the Nintendo 64 and its 64DD add-on. It was initially canceled in 2000, but development was restarted in 2003 for the Game Boy Advance.

Mother 3 was a critical and commercial success, and received praise for its graphics, music, and story; however, some believed its gameplay offered few innovations to the role-playing genre. The game was never released outside Japan, though it has generated a cult following. An unofficial English fan translation was released by the Starmen.net internet community in 2008, and received over 100,000 downloads within a week. Mother 3 was re-released for the Wii U Virtual Console in Japan in 2016.

GameplayEdit

Mother 3 is a single-player role playing video game similar to previous games in the Mother series. The player controls a party of playable characters who explore the game's two-dimensional fictional world, primarily shown from a top-down perspective. While navigating the overworld, the player may converse with non-player characters, obtain items, or encounter enemies. Winning battles against enemies awards experience points to the party, which is required for leveling up. Leveling up a character permanently enhances its individual attributes such as maximum hit points (HP), power points (PP), offense, and defense. Weapons, armor, or accessories can be equipped on a character to increase certain attributes. The player can restore their characters' HP and PP or heal various status ailments by visiting hot springs which are abundant in the game world, and the player can save the game by talking to frogs.[1] Currency is introduced in the later half of the game as Dragon Points (DP), earned by winning battles and used to purchase items. The player can deposit or withdraw DP from frogs.[2]

 
In a battle sequence, the player can perform combo attacks by repeatedly striking to the beat of the background music

Mother 3 retains the turn-based battle system featured in EarthBound. When the player comes into contact with an enemy in the overworld, the game transitions to a battle screen. Battles are viewed from a first-person perspective, showing the enemies against a distorted, animated background. The player can assign each character in their party to perform an action, such as attacking an enemy or using items to restore HP or PP. Some characters can utilize psychic-based abilities referred to as PSI, which includes stronger attacks and healing abilities, and require PP to execute. Like EarthBound, combat uses a "rolling health" system: when one of the player's characters is injured, its HP will gradually "roll" down, similar to an odometer, rather than immediately decremented. This allows a mortally wounded character to perform actions like attacking or healing themselves, as long as the player acts quickly enough. If a character loses all HP, it will become unconscious and cannot participate unless revived by another character. The player loses a battle if all characters become unconscious; the player will then be given the option to continue play from the nearest save point, but with half the DP on their person.[3]

Combat in Mother 3 includes a unique musical combo system not seen in previous Mother games. When one of the player's characters directly attacks an enemy with a weapon, they can repeatedly attack the enemy by pressing the button in time with the beat of the background music, with each enemy possessing a musical theme with different rhythms. Using this system, the player can attack the enemy up to sixteen times in a row.[4] When the correct beat is not apparent, the player can put the enemy to sleep to isolate the beat from the music.[1]

Plot synopsisEdit

Taking place in the fictional Nowhere Islands an unknown length of time after the events of Mother 2, Mother 3's story is told in eight chapters, including a prologue.[5]

One night, the peaceful town of Tazmily finds itself attacked and invaded by the mysterious Pigmask Army, who set the forest ablaze using bombs. After rescuing one of the villagers and their son, Flint, husband of Hinawa and father of the twins Claus and Lucas, returns home to find a letter from Hinawa, who has travelled away from the village to visit her father Alec. Realising that she hasn't returned after a sudden downpour of rain extinguishes the forest fire, the villagers mount a search, eventually finding a scrap of her dress near a giant claw mark in a cliff. Flint stumbles upon and fights a "Chimera", a twisted combination of different animals combined "reconstructed" by the Pigmasks with mechanical parts. Shortly afterwards, the villagers find Claus and Lucas safe, but inform Flint that Hinawa is dead, apparently killed by a creature known as a Drago. Filled with grief, Flint goes berserk, attacking the villagers, before being knocked out.

Waking up in the village jail, Flint meets Claus, who swears revenge on the Drago, and helps him break out of his cell. Meeting up with Alec, the two find the heartbroken Lucas, who lets slip that Claus has headed to the Drago Plateau. Chasing after him, Flint and Alec eventually find the Mecha-Drago chimera that killed Hinawa. They fight, and Flint almost kills it before being stopped by Alec. Unbeknownst to Flint, Claus has fallen off of a cliff to his apparent death.

Some time later, one of the other villagers, Wess, instructs his son Duster to sneak into the nearby Osohe Castle to retrieve a priceless treasure. Doing so, Duster catches a glimpse of a pink-haired girl who drops a pendant. He retrieves an ancient vase and heads back into town, where he bumps into a man who is later identified as Fassad, and his companion monkey Salsa. Duster returns to Wess, who angrily tells him he has brought back the wrong treasure, and the two of them head back to the castle, finding it overrun with Pigmasks. Sneaking further into the castle, they meet the pink-haired girl, who Wess recognises as Princess Kumatora. She joins them, and together they find the real treasure - the Hummingbird Egg. Duster grabs it, and the group are flushed out of the castle by a whirlpool. Wess and Kumatora wash up on the Tazmily Beach, but Duster and the Egg are nowhere to be found.

Meanwhile, Fassad, accompanied by the unwilling and abused Salsa, begins scheming to change the town by giving speeches in the town square, promising true happiness to anyone who puts a "Happy Box" in their home. Realising how he is being mistreated, Kumatora and Wess free Salsa, only for Fassad to give chase. They are cornered and almost beaten by the Pigmasks when Lucas shows up commanding a Drago to attack Fassad's group. Kumatora introduces herself to Lucas and promises they will meet again, before leaving with Salsa.

Three years later, Tazmily has been transformed into a much more industrial society, controlled by the Pigmasks. Flint, still searching for Claus after all this time, is regarded with pity by the villagers, while both he and Alec become notable for being the last villagers remaining who refuse to take a Happy Box, subsequently suffering from mysterious repeated lightning strikes on their home as an apparent result. After hearing a rumour that a man named Lucky, the bassist in the band DCMC, bears an uncanny resemblance to the still-missing Duster, Lucas tells Wess, who implores him to investigate. While heading to the nearby Club Titiboo, where the band regularly perform, Lucas meets Ionia, one of the seven "Magypsies", a group of hermaphroditic beings, who awakens the psychic power of PK Love within him.

At Club Titiboo, Lucas meets Kumatora, who also believes Lucky to be Duster. After seeing the band perform, the two sneak into Lucky's room, where after hearing his story of waking up with no memory three years ago and being taken in by the band, they realise he truly is Duster, and convince him to join them. Searching for the Hummingbird Egg, the group are taken to Thunder Tower, the source of the lightning strikes, where Lucas is mistaken for the Pigmask Commander and escorted in. Fassad arrives, immediately recognising Lucas, and the group are chased to the top of the tower, where Fassad slips and falls. While trying to grab on to a nearby aircraft, the group are shaken off by a mysterious masked man.

Landing in a field of sunflowers, Lucas sees a vision of Hinawa and chases after her, jumping off of a cliff only to land in a pile of hay. After meeting up again with Ionia, a strange surge of energy strikes. Racing to the house of Aeolia, another Magypsy, they find them disappearing, and explain to Lucas that each Magypsy guards a Needle. According to legend, if the Seven Needles are pulled, an ancient dragon will awaken to destroy and re-create the world. Realising that the Pigmasks intend to pull the Needles, they race to Osohe Castle, where they find the Needle already pulled, and Aeolia disappears. Lucas travels to the different Needles, reuniting with Kumatora, and Duster along the way. They also find Fassad still alive, albeit upgraded with cybernetic enhancements, and fight him. Ultimately, they only manage to stop the Masked Man pulling some of the Needles, with the group and the Pigmasks being tied at three Needles each, and only one undiscovered Needle left.

Returning to Tazmily Village, they find it nearly abandoned, with everyone having been summoned to the Pigmask capital city, New Pork City, invited to a "party" by the leader of the Pigmasks, King P. After pulling the sixth Needle, a limo arrives to transport the group to New Pork City. In an apartment building, the group meets up with Leder, the silent bell-ringer from Tazmily, who breaks his silence to tell Lucas the grave truth about the world. He explains that long before the events of the game, humanity faced extinction as a result of its own actions, with most of the world rendered uninhabitable. A select few were placed on a "White Ship", heading for the Nowhere Islands, the last habitable environment, and willingly had their memories wiped and replaced with fake memories in order to prevent humanity's earlier mistakes.

After fighting Fassad one final time and defeating him for good, they head to the Empire Porky Building, where Duster reunites with DCMC, who play one final performance, only to be interrupted by an announcement from King P. telling them to head to the 100th floor. After fighting their way through countless fake 100th floors, they find the house of the final, missing Magypsy, Locria, who is revealed to have been Fassad. Eventually reaching the 100th floor, the group are reunited with Flint, and confronted by King P, who is revealed to be Porky Minch, a major antagonist from the previous game. He explains that he has been travelling back and forth through time and space, which has affected his aging, rendering him immortal, forcing him to live inside a spider-like machine.

Porky explains that after countless years of travelling through time and space, he has become bored, and thus set in motion the events of the game essentially as a giant game to entertain himself. After learning that the seventh and final Needle has been discovered nearby, he immediately departs, wishing to re-create the world in his own image.

Heading deep underground, Flint goes on ahead, where the group eventually catch up to him, injured but alive. He informs Lucas that the Masked Man pulling the Needles and antagonising the group is actually Claus, recovered and brainwashed by the Pigmasks. Encountering Porky again, the group fights him, severely damaging his machine. Not wanting to be beaten, Porky seals himself inside an Absolutely Safe Capsule created by Dr. Andonuts. He tells the group that the Absolutely Safe Capsule is a double-edged sword for Porky, as while it truly does provide complete protection from the outside, it is also impossible to leave once inside, leaving the immortal Porky sealed inside for eternity.

Going on ahead, the group confront the Masked Man at the final Needle, who subdues them with a lightning attack and fights Lucas one-on-one. Lucas, realising the Masked Man to be Claus, finds himself unable to attack him. Hearing the spirit of Hinawa pleading the two brothers to stop fighting, Claus's attacks grow weaker, before eventually ceasing entirely, having apparently regained his memory. Taking off his helmet, he deliberately attacks himself with his own lightning attack, dealing mortal damage. After embracing Lucas one last time and apologising for his actions, Claus succumbs to his injuries and dies in Lucas's arms.

Implored by Flint, Lucas pulls the final Needle. The world is destroyed, and fades to a black screen, where it is implied that the entire cast of the game will be reborn in the new world, free from evil.[6]

DevelopmentEdit

 
The game was designed for the 64DD add-on, shown here as docked beneath the Nintendo 64

Development of Mother 3 began in 1994 as a game for the Super Famicom with Shigeru Miyamoto and Satoru Iwata as producers. The team mostly consisted of members involved in the development of EarthBound. Inspired by the Nintendo 64 launch title Super Mario 64, the development team transitioned from the Super Famicom to the newer console believing that they could also creatively flourish by making a 3D world without technical restrictions. However, their early specifications exceeded the capabilities and memory limits of the console; halfway through development the team scaled back its large scope and changed the platform to the 64DD, a Nintendo 64 expansion peripheral that was later released only in Japan in 1999.[7] Mother 3 was expected to be a launch title for the peripheral, but development shifted back to the Nintendo 64 after the 64DD was considered a commercial failure.[8][9] A demo of Mother 3 was showcased at the 1999 Nintendo Space World trade show. The game was expected to be released in North America under the title EarthBound 64, and the game was also stated to be released on a 256-megabit cartridge, similar to The Legend of Zelda: Ocarina of Time. IGN reacted favorably to the demo and compared the multi-character narrative to the Japan-only Super Famicom RPG Live A Live,[9] and Famitsu readers ranked the game as one of their top ten most anticipated towards the end of 1999.[10]

Satoru Iwata and Shigeru Miyamoto, Mother 3 producers

Shigesato Itoi announced in late August 2000 that Mother 3 was cancelled following a number of delays.[11][12] Iwata and Miyamoto clarified in an interview that resources had been moved to the development of the GameCube, the next Nintendo console. Itoi stated that an additional two years would have been required to finish the game, which was 30% complete at the time of cancellation. Iwata stated retrospectively that the focus on 3D graphics made the project overly complex. Miyamoto also stated that the Mother franchise was not abandoned and that he was still interested in bringing the game to fruition.[7]

Mother 3 was later announced in 2003 to have restarted development for the Game Boy Advance handheld console in a Japanese commercial for Mother 1+2.[13] Itoi had earlier assumed that restarting the project was impossible but later decided to continue following encouragement from the Mother fanbase.[14] Nintendo subsidiary Brownie Brown developed the game, with input from Itoi. While the graphics were changed from 3D to 2D, the game's original story was not altered. Mother 3 was about 60% complete by July 2004, and was released on April 20, 2006, in Japan.[15][16]

DesignEdit

 
Flint in an inn setting, as compared between the Nintendo 64 and Game Boy Advance versions

Itoi thought of the concept behind Mother 3 towards the end of Mother 2's production, a "detective story where the city was the main character".[7] He thought of a hack, small-time, womanizing private investigator who would become engrossed in a big murder case, and the story would unfold from a young female clerk at a flower shop who would slowly recall parts of a story consequential to the plot. Thus, the city would appear to grow. This idea of a "single place changing over time" was central to Mother 3.[7] Unlike previous RPGs, which he saw as "road movies" with little reason to revisit, he wanted the player to see the town gossip grow dynamically.[7] It was enough of a departure from the series that the development team questioned whether fans would consider it part of the series.[7] Itoi intended the game to have 12 chapters with various game mechanics and rotating player-characters.[17][a] He conceptualized the development as moving 3D puppets before realizing the degree of programming required. As development wore on, Itoi reduced the scope of the chapters until seven or nine were left. The "uncomfortable beauty" of chimera—multiple creatures fused into one—was central to the game and the idea behind the metallic and wooden Mother 3 logo.[7][b] Itoi served less of a manager role and more as a team member and scriptwriter than in previous Mother development cycles. He saw himself as simultaneously making the game he wanted to play and setting traps for the player, and as making a game Nintendo could not.[7]

Itoi chose to use the pixelated style of Mother 2 for the Game Boy Advance Mother 3 because he was uninterested in computer graphics trends.[19] The series' games were written in the hiragana alphabet instead of in kanji (Chinese characters) so as to remain accessible to young children.[20] Itoi described the game world as governed by a "might equals right ... macho" power struggle.[21] The antagonist, Porky, was designed as a "symbol of humankind", complementing Itoi's view of evil on a fungible morality spectrum with "pranks" and "crimes" at its extremes.[18] Itoi compared the way in which the characters realize their psychic powers with menstruation and added that human physiology was "one of his themes".[22] Players sweat when learning an ability based on Itoi's belief of how physical struggle facilitates growth. He also included characters like the Magypsies and Duster (who has a bad leg) to show the value of having friends with different qualities.[22]

Another of his themes was the duality of the seriousness and lightheartedness of games, which is why he added a serious death scene to the first chapter.[23] Itoi's Nintendo 64 version of the ending was darker, "dirtier", and more upsetting, though the final version changed little in concept.[20] Itoi attributed the change in tone to his own growth and the character composition of the new development team. Itoi later reflected on the ending's lesson on the virtue of helping bad people.[20] Itoi felt that the ending's renewal theme reflected his worldview of appreciating our time on Earth in light of the planet's inevitable end.[6] Much of the rest of the script was written after-hours at a local hotel where they would continue their work.[20]

MusicEdit

Shogo Sakai, a video game composer at HAL Laboratory whose previous works include music for Kirby Air Ride and Super Smash Bros. Melee, composed Mother 3's soundtrack. Shigesato Itoi stated that Sakai was chosen for the role given his deep understanding of the game's story and the EarthBound series in general, in addition to the fact that EarthBound composers Keiichi Suzuki and Hirokazu Tanaka were both unavailable. Sakai worked to make the music feel similar to previous entries in the series.[24] The Mother 3 soundtrack was released on compact disc on November 2, 2006. Kyle Miller of RPGFan wrote that the game retained the quirkiness of the previous soundtracks in the series despite the change in composers. He found the second half of the album, which included reinterpreted "classics" from the series, to be its strongest.[25]

"Love Theme", the main theme of Mother 3, was composed late in the game's development; earlier in development Itoi intended to use the "Pigmask Army" theme as the main theme of the game. During creation of an important scene in the game, however, Sakai was asked to create a song that would have a greater impact than the Pigmask theme; upon its creation it was chosen to be used as the main theme instead of the "Pigmask Army" song. Itoi claims that, given how quickly Sakai composed the song, that he had been "waiting for the order" to make a song like "Love Theme". Itoi requested that "Love Theme" be playable on a piano with only one finger, as the "Eight Melodies" theme from Mother had gained popularity and been played in elementary schools due to its simplicity.[26] The "OK desu ka?" that plays after the player chooses the character's name was recorded without Itoi's knowledge by Hirokazu Tanaka more than a decade before the release of Mother 3.[26]

ReleaseEdit

 
Mother 3's development spanned four consoles. The game was eventually released for the handheld Game Boy Advance.

Mother 3 was released in Japan on April 20, 2006, where it became a bestseller.[27] Prior to its release, the game was in the "top five most wanted games" of Famitsu[28][29] and at the top of the Japanese preordered game charts.[30] At one point leading up to its release, the game's "Love Theme" would play as music on hold for the Japan Post.[29] A limited edition Deluxe Box Set was produced with a special edition Game Boy Micro and Franklin Badge pin.[31][32] The game was marketed in Japan with a television commercial that has Japanese actress Kō Shibasaki on the verge of tears as she explains her feelings about Mother 3. Itoi has said that her performance was unscripted.[20] On December 17, 2015, the game was released for the Japanese Virtual Console on the Wii U.[33] According to Game Informer editor Imran Khan, Nintendo planned an English localization, but canceled it due to fears that the central theme of bereavement, as well as instances of drug use and animal cruelty, would generate controversy.[34][35]

Fan translationEdit

Mother 3 did not receive an official release outside Japan. On October 17, 2008, Starmen.net released a fan translation patch that, when applied on a copy of the Mother 3 ROM image, translates all the game's text into English.[36][37] Reid Young, co-founder of Starmen.net, stated that when they realized Nintendo was not going to localize Mother 3, they decided to undertake the task, for themselves and for fans of the game.[38] The translation team consisted of around a dozen individuals, including project lead Clyde "Tomato" Mandelin, a professional Japanese-to-English translator. The project took two years and thousands of work-hours to complete; it was estimated that the theoretical freelance cost of the translation was $30,000.[39]

The project included translating, writing, and revising about 1,000 pages of the game script in addition to extensive ROM hacking and testing to ensure that the game properly and correctly displays the translated text. The translation included minor deviations from the original, such as localization of place-names and puns. Few dramatic changes were made, but some characters and locations were renamed. For example, the character "Yokuba", loosely derived from yokubō (欲望, "greed"), was renamed "Fassad", loosely derived from the French word façade and, incidentally, the Arabic word fasād (فساد, "corruption"). The ROM hacking entailed assembly-level changes to the game code to support features such as variable width fonts.[39]

The team reported that "the highest levels" of Nintendo of America knew about their project, though they did not intervene.[39] The localization team planned to end the project if Nintendo were to make an announcement about the future of the game, or if they were asked to cease development of the translation.[39] They acknowledged that the legality of the localization was unclear[38][40] since the final translation required use of an emulator.[36] The localization patch was downloaded over 100,000 times in the first week following its release.[41] Along with the translation, the team announced the Mother 3 Handbook, an English player's guide for the game that had been in development since June 2008.[38] Wired reported the full-color, 200-page player's guide to be akin to a professional strategy guide, with quality "on par with ... Prima Games and BradyGames".[42] The Verge cited the two-year fan translation of Mother 3 as proof of the fan base's dedication,[43] and Jenni Lada of TechnologyTell called it "undoubtably one of the best known fan translations in existence", with active retranslations into other languages.[44]

ReceptionEdit

Reception
Review scores
PublicationScore
Eurogamer7/10[1]
Famitsu35/40[45]
NGC Magazine77/100[46]
RPGamer4/5[3][4]

Mother 3 sold around 200,000 copies in its first week of sales in Japan.[47] It was one of Japan's top 20 bestselling games for the first half of 2006,[27] and received a "Platinum Hall of Fame" score of 35/40 from Japanese reviewer Weekly Famitsu.[45] It ended the year with over 368,000 copies sold, the 36th highest of the year in Japan.[48] Jenni Lada of TechnologyTell called it the "perfect" Game Boy Advance role-playing game.[49] Reviewers praised its story (even though the game was only available in Japanese[46]) and graphics, and lamented its 1990s role-playing game mechanics.[1][30][45][46] Critics also complimented its music.[3][4][50]

Famitsu's reviewers noted the level of detail from the game's direction, accessibility and wit of the story, unconventional art style, and conventional game mechanics. They considered the timed battles to be both useful and difficult.[45] Eurogamer's Simon Parkin detailed the 12-year development, the series' legacy as both "one of Japan's most beloved" and the video game cognoscenti's "sacred cow", and the endurance of its fan community.[30] He was impressed by the quality of the fan translation, and described Itoi as a "storyteller" who chose the Japanese role-playing game medium to tell his story.[30] Parkin noted how the "excellent" script unfurled from a "straightforward tale" into "breadth and depth of quality that few titles many times its budget achieve" with "affecting scenes" and "unexpected impact".[30] He compared the chapter approach with the method of Dragon Quest IV.[1] Parkin wrote that the script allowed for the somewhat "heavy-handed" juxtaposition of "nature and technology, feudalism and capitalism, individuals and community",[1] and that what he first considers a name customization "trick" becomes useful later in the game.[30] NGC Magazine's Mark Green wrote that the game felt like Mother 2.5 in its look and feel, which he did not consider negative, albeit somewhat antiquated.[46] Lada of TechnologyTell said Mother 3 was surprisingly "darker" than its forebears.[49]

Few pregnancies have been as painful and protracted as Mother 3's.

Simon Parkin of Eurogamer, Mother 3 review, 2008[30]

Eurogamer's Parkin wrote that the "childlike" and "unusually Western" graphics were similar to EarthBound's in "flat pastel textures devoid of shading" as juxtaposed with background art that "fizzes with life and character".[30] He described the cutscenes' animations as "bespoke", rare for 16-bit role-playing games, and of greater dramatic impact.[1] RPGamer's Jordan Jackson wrote that the visuals are typical of the series and fit the game's mood,[3] and the website's Mike Moehnke criticized the inventory limits carried over from the previous game.[4] Green of NGC said the game mechanics were "depressingly basic" against more advanced role-playing games.[46] Eurogamer's Parkin felt that the role-playing game elements were less interesting and added that Mother 3 had few standout selling points other than its attention to detail and "only systemic innovation": the rhythm-based battle system.[1] Kotaku's Richard Eisenbeis praised the system,[16] and GameSpot's Greg Kasavin compared it with that of the Mario & Luigi series.[51] Jackson wrote that the music was "just as catchy as previous games" despite being "almost completely new".[3] Moehnke agreed, calling it "nothing less than stunning".[4] He noted overtones of Wagner and Chuck Berry.[4] Jackson said that the game was somewhat easier than the rest of the series and somewhat shorter, at about 30 hours in length.[3] Both RPGamer reviewers noted that Mother 3 has few penalties for death.[3][4] Jackson reflected that while the game is humorous and grows in enjoyment, it has some somber moments as well.[3] Eisenbeis of Kotaku cited "the importance of mothers" as a key theme about which the game revolves, which he preferred to the mid-game "slapstick insanity" and final plot twist.[16] Parkin wrote that the game was filled with "memorable moments", including a character who criticizes the player "for not giggling at puns", frogs with progressively silly costumes that save the game, a "reconstructed mecha caribou" battle, a bad haiku, and the "campfire scene", and that while the game's simpleness could have lent towards "raw stupidity", instead it was "elegant in its simplicity".[1]

LegacyEdit

Multiple critics wrote that Mother 3 was one of the best role-playing games for the Game Boy Advance.[4][49][52] GamePro's Jeremy Signor listed it among his "best unreleased Japanese role-playing games" for its script and attention to detail.[53] Tim Rogers posited that Mother 3 was "the closest games have yet come to literature."[54]

Nintendo is often criticized for Mother 3's lack of an international release. IGN referred to the Mother series as "neglected" in regards to EarthBound being the only game to be released outside Japan[55] across the decades until 2015. Bob Mackey of 1UP.com wrote of Mother 3 that "no other game in the history of time garnered such a rabid demand for translation,"[56] and Chris Plante of UGO Networks wrote that the lack of an official Mother 3 English localization was one of 2008's "worst heartbreaks".[57] Frank Caron of Ars Technica said that the fan translation's "massive undertaking ... stands as a massive success" and that "one cannot even begin to fathom why Nintendo wouldn't see fit to release the game in the West."[37]

Although acclaimed, Mother series writer Shigesato Itoi has stated that he does not have any plans to create a fourth installment in the series.[47]

The Super Smash Bros. series features the characters Ness and Lucas as playable fighters, as well as minor characters as collectibles, items, or stage hazards.[58][59][60]

During Nintendo's digital event at E3 2014, Nintendo made a humorous reference to Mother 3's lack of a localization by presenting a stop-motion animation created by Robot Chicken. The short features a fan in attendance talking to then-Nintendo of America President Reggie Fils-Aimé. After the fan says "Come on, Reggie, give us Mother 3!", Fils-Aimé responds by saying "How about this?" and then proceeds to eat a Fire Flower from the Super Mario series in order to throw a fireball at the fan.[61]

NotesEdit

  1. ^ This revolving player-character mechanic was first attempted in Mother 2.[7]
  2. ^ The Mother 3 logo was made from a fusion of metal and trees, which Itoi interpreted as the discomfort of two materials that were impossible to fuse.[7] The chimeras theme informed the game's original subtitle: "Forest of the Chimeras",[7] which eventually became "The End of the Pig King" before the game was cancelled.[9] The final release had no subtitle because Itoi did not want to lead the player's interpretation.[18]

ReferencesEdit

  1. ^ a b c d e f g h i Parkin, Simon (October 29, 2008). "Mother 3 Review". Eurogamer. Gamer Network. p. 2. Archived from the original on September 7, 2014. Retrieved September 7, 2014.
  2. ^ Brownie Brown (April 20, 2008). Mother 3. Game Boy Advance. Nintendo. Scene: Chapter 4. Frog: From this day forth, you'll be rewarded for your hard work. It'll be given in units called DP (Dragon Power). You can use DP in shops and other places in exchange for good and services. [...] You can save and withdraw DP anytime by talking to nearby frogs.
  3. ^ a b c d e f g h Jackson, Jordan. "Mother 3 - Staff Review". RPGamer. Archived from the original on September 7, 2014. Retrieved September 7, 2014.
  4. ^ a b c d e f g h Moehnke, Mike. "Mother 3 - Staff Retroview". RPGamer. Archived from the original on September 8, 2014. Retrieved September 7, 2014.
  5. ^ Fangamer 2009, p. 1.
  6. ^ a b "Shigesato Itoi Tells All about Mother 3 (Part Two)". Nintendo Dream. Translation. August 2006. p. 8. Archived from the original on September 1, 2014. Retrieved August 31, 2014.CS1 maint: others (link)
  7. ^ a b c d e f g h i j k Itoi, Shigesato (August 22, 2000). "『MOTHER 3』の開発が中止になったことについての" [About the development of "MOTHER 3" has been canceled]. 1101.com. Translation. Translated introduction. Archived from the original on August 31, 2014. Retrieved August 30, 2014.
  8. ^ IGN Staff (June 2, 1997). "FOUR GAMES TO LAUNCH WITH JAPANESE 64DD". IGN. Ziff Davis. Archived from the original on August 31, 2014. Retrieved August 31, 2014.
  9. ^ a b c IGN Staff (August 22, 2000). "EARTHBOUND 64 (MOTHER 3)". IGN. Ziff Davis. Archived from the original on August 31, 2014. Retrieved August 31, 2014.
  10. ^ IGN Staff (September 2, 1999). "JAPAN WANTS ZELDA". IGN. Ziff Davis. Archived from the original on September 1, 2014. Retrieved September 1, 2014.
  11. ^ IGN Staff (August 21, 2000). "EARTHBOUND 64 CANCELLED". IGN. Ziff Davis. Archived from the original on August 31, 2014. Retrieved August 31, 2014.
  12. ^ IGN Staff (March 22, 2000). "MOTHER 3 PUSHED BACK". IGN. Ziff Davis. Archived from the original on June 15, 2014. Retrieved June 15, 2014.
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