![]() Better to spend time elsewhere.Īnd that, looping back handily, is what helped to make Mode 7 on the SNES stand out so very much. But as all these solutions had to be entirely written in software, it was a laborious, difficult, and ultimately pointless task. Dick Vitale’s “Awesome Baby!” College Hoops – yes, that is what it’s called – is a good example to take a look at. The Mega Drive never had Mode 7-alike features natively, though the odd title did pop up here and there that managed an impersonation of the rotate-and-scale backgrounds. Mode 7 made a lot of SNES games look like SNES games, and so had a huge hand in defining the visual character of an entire console. Over 60 games in the SNES library ended up using Mode 7 – the Game Boy Advance even introduced its own version of the effect when it launched – so this was by no means just a promotional tool, or an overhyped tech spec. And when we fell to the ever-growing earth in Pilotwings, or skidded around a Mario Kart track, the belief in such a natty feature just grew. ![]() Nobody with a technical mind truly believed what they were seeing was 3D, but it genuinely didn’t matter. The sense of speed was palpable the trick worked. It’s impossible to say it was purely the utilisation of Mode 7 that made F-Zero so special and, in turn, was the sole factor behind the revitalisation of the racing genre – but at the same time it’s not a stretch to make the claim.īy rotating and scaling an otherwise static, non-interactive background image, F-Zero gave the impression of vast, three-dimensional courses big enough to fit these vehicles travelling at hundreds of miles an hour. ![]() So there was truth to the marketing gumph.Īdditionally, it was a) obvious when Mode 7 was being used, so easy to show off, and b) really quite brilliant at the time. ![]() Yes, it was a marketing term thrown about to get us all excited about this so-called ‘Super’ Nintendo machine, but the fact is it was a graphics mode in the SNES architecture, numbered seven. ![]()
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