The days of being a puppeteer in Konoha

Chapter 298 Super Mario

Super Mario.

Although Hideki first played this classic game in his previous life on a Subor learning machine.

But this game was actually released on arcade platforms.

This is exactly what Hideki has prepared to alleviate the problem of rune toys being too expensive:

Arcade.

When he was very young in his previous life, game consoles and even computers were still quite expensive and rare.

So arcades came into being, where people could play all kinds of interesting games by just spending a little money and have fun for the whole afternoon.

Although most arcades have declined and closed down with the development of the times, their former popularity is enough to prove the feasibility of this model.

Similarly, the Internet cafes that are still surviving have pointed out the future direction for Hideki.

However, as always, although the ninja world now has relatively primitive computer technology, Hideki has no intention of restoring the game in this way.

For him, who has always advocated killing two birds with one stone, making arcade machines is not just about making money, but also an interesting opportunity to practice.

Over the past six months, he has indeed mastered a lot of new technologies, but he has not fully utilized them.

That's why Hideki tried to digest them completely in this way.

For example, the programming flow sealing technique.

Hideki didn't mean to be funny when he gave it this name.

Just as humans need programming languages ​​to communicate with computers.

Hideki realized very early on that rune techniques were essentially a special language for issuing commands to chakra.

Especially after obtaining the right to borrow books on sealing techniques below level B at the end of last semester, Hideki's knowledge base of sealing techniques has been continuously enriched.

With the help of Kushina and the Brainstorming Technique, his plan to derive more basic runes and perfect the programmed sealing technique was also progressing smoothly.

Therefore, during this process, he increasingly felt that the form and use of many basic runes were surprisingly similar to many programming instructions he had learned in his previous life, which could be said to be different paths leading to the same destination.

So theoretically speaking, as long as there is enough time, it is not impossible to restore the entire "Super Mario" game using programming flow sealing techniques.

However, what Hideki lacked was time.

Therefore, he did not wait until all the necessary basic runes were derived, but decided to complete the missing and difficult parts with the puppet-making technology that he was best at.

How to combine puppetry and programming sealing techniques to restore the game in one's memory as much as possible is also a very challenging task.

Just like now, the plumber jumping around under his control in the picture, as well as small monsters like turtles, chestnuts, etc., are actually not fictional images, but real mini puppets.

After all, the "Super Mario" game series has been popular for a long time, and the more realistic physics system is one of the very important reasons.

The acceleration when running, the inertia when stopping suddenly, and the height of the jump can be adjusted according to the button pressing time.

Although it may be difficult for players to adapt to it at first, there is a "slippery" feeling.

But once you get used to it, simple running and jumping movements can be transformed into various tricks in the hands of players, and finally transformed into Mario's smooth movements, making people unable to stop.

Although Hideki was able to imitate the appearance of this game and remember the level design almost exactly.

But a mysterious feel like this can only be achieved by spending a lot of time and effort to polish it to perfection.

So Hideki simply took one step at a time and directly introduced the most powerful physics engine system - reality.

As long as the game characters are made into mini puppets, then acceleration, inertia and so on are not a problem at all, and the laws of physics in reality will naturally complete them. Of course, blindly focusing on reality may also be counterproductive.

For example, Mario's ability to move freely left and right while jumping.

Although it does not conform to the laws of physics, this flexible jumping ability is the essence of the game and where experts have the most room to maneuver.

So Hideki could only say sorry to Newton and then nail his coffin shut.

Using chakra lines that are invisible to the naked eye, he easily restored the setting of the game.

As for props like mushrooms, flowers, stars, and gold coins, Hideki has another plan.

Since they do not need to apply the laws of physics and will suddenly be eaten and disappear, for the sake of convenience, Hideki chose to restore them through projection technology.

From the previous battle between the three academy beasts, we can know that Hideki has completely mastered this projection technology that was derived from the art of telescope.

It is naturally no problem to project elements such as mushrooms and gold coins onto the arcade screen as needed.

However, since Hideki used this as an opportunity to practice, the manufacturing of this arcade machine also had many difficulties.

Hideki wants to overcome them one by one so as to organically integrate what he has learned and even spark new inspiration.

The biggest difficulty that troubled Hideki for the longest time, and also brought him great benefits, was the level setting of this game.

In the original game, these levels are essentially just a small string of simple codes.

Just call the corresponding art resources when needed to display the blue sky, white clouds, red bricks and green grass on the screen.

But now Mario and the monsters are real, so the scenes that can make them jump up and down can only be real.

To create so many level scenes and cram them into a small arcade machine, not to mention the difficulty, the workload is definitely not small.

This brute force method obviously does not conform to the aesthetics of Hideki, the toy fairy, so he has thought of many ways to solve this problem.

For example, use a storage scroll to seal all levels and release them when needed.

Unfortunately, this does not solve the workload problem, and the storage scroll that can store so many levels is also very expensive, so the cost is not worth it.

For example, miniature puppets and levels are created through micro-carving, and then the images are enlarged and displayed on the arcade screen.

This can slightly reduce material costs and workload, but unfortunately, only Hideki can do this kind of delicate work now, making it difficult to mass produce.

Later, Hideki also thought about borrowing the idea of ​​the original game and putting an automatic and efficient assembly machine into the arcade.

It can install various parts on the wall serving as the background according to different levels, and remove them when not needed to transform into other levels.

Hideki even made a prototype to prove its feasibility.

Watching a large number of slender mechanical arms assembling the levels at a dazzling speed, Hideki even felt a sense of beauty in order...

Then he took the thing apart.

It's fine to use it for show, but if you want to use it as a flagship product, this complex and easily broken precision machine is obviously not suitable.

However, this method did provide Hideki with an interesting inspiration:

To realize this idea, it may not necessarily require assembly through a robotic arm...

Is there any way to make the level elements appear directly on the wall when needed, and disappear when not needed?
After several brainstorming sessions, Hideki finally found the perfect solution:
Earth Escape·Earth Flow Wall.

(End of this chapter)