Super Mario Adventures, inspired by the bestselling Super Mario video game franchise, is a collection of comics that originally ran in Nintendo Power magazine in 1992-93.
peril-plagued Princess Toadstool is kidnapped by the diabolical
deadbeat Bowser but super plumbers Mario and Luigi hatch a plan with
their new friend Yoshi to rescue her. Are the Super Mario Bros’ plans a
pipe dream? Can they stop the Koopa King before he forces the Princess
to be his bride?!
Long out of print, this stunning, full-color graphic novel is now available once again!
Early screenshots of Sam & Max Hit the Road (LucasArts, 1993) from the game box and hint book.
Differences from the final game:
1) The Wak-A-Rat points counter is an early design, without its “HIT 20 WIN” upper text;
2) Sam looks unusually astonished in the Mystery Vortex (and I’ve only seen those two doors be respectively red and orange);
3) the transcription of Conroy Bumpus’ musical warblings are different;
4) the Gator Golf menu buttons are shown as alligator hides, not red golf balls; and the target indicator’s flag flaps down rather than standing stiff in the wind. (Also, Sam doesn’t leave his tie slung over his shoulder after the first swing.)
Adventure game fact: The God Machine tower in Indiana Jones and the Fate of Atlantis (LucasArts, 1992) was designed to resemble Gustave Doré’s illustrations of Satan in Hell’s icy center in Dante’s Inferno.
Not only that, the architecture of the God Machine contains three distinct faces, recalling Dante’s description of Satan’s three-faced visage:
If he were then as lovely, as now foul, and yet upraised his brow against his Maker, well it may be that from him all ills flow.
O, what a wonder did it seem to me when looking on his head I saw three faces! The one in front had vermilion for hue;
the other two were each joined to this, above the center of his shoulder blades, and reunited at his forehead’s crest.
The face at right was colored white and gold; the one at left was dark to look upon, like those who come from where the Nile flows.
Beneath each face there fluttered two vast wings, Such as were fitting for a mighty bird. No ship I saw ever had sails as wide.
In other words, the Fate of Atlantis developers weren’t just depicting Atlantis here: they were also depicting the center of Dante’s Hell, AKA Cocytus.
PS: It’s not common knowledge, but both Hal Barwood and Noah Falstein at various times worked on versions of The Dig.
PPS: In the above quote, Dante alludes to the fact that the Nile’s source was then unknown to Europeans, and would remain undiscovered until the 19th century.
In the Fountain of the Four Rivers in Rome’s Piazza Navona, sculptor Gian Lorenzo Bernini made a similar allusion by draping a heavy veil over the figure personifying the Nile, hiding his facial features.