'Super Mario' Theme Park Opens in Japan

The attraction is part of the existing Universal Studios Japan amusement park in the western city of Osaka. Reuters
The attraction is part of the existing Universal Studios Japan amusement park in the western city of Osaka. Reuters
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'Super Mario' Theme Park Opens in Japan

The attraction is part of the existing Universal Studios Japan amusement park in the western city of Osaka. Reuters
The attraction is part of the existing Universal Studios Japan amusement park in the western city of Osaka. Reuters

Here we go! After months of pandemic delays, Nintendo's first ever theme park, featuring a "Mario Kart" ride in a real-life Bowser's Castle, opened in Japan on Thursday to delighted fans.

The attraction, whose bright, block-like surroundings are straight out of the classic "Super Mario" games, is part of the existing Universal Studios Japan amusement park in the western city of Osaka.

"We perfectly recreated the world of the game.... You'll find life-sized piranha plants and Bowser, and you'll see what it is like to be Mario," said Ayumu Yamamoto, USJ's marketing communication manager.

"It took almost a year longer than we had expected to open this place, and we are really glad," he told reporters at a preview on Wednesday.

The new zone called "Super Nintendo World" had originally been expected to draw big crowds last year ahead of the Tokyo 2020 Olympics, which was also postponed by the coronavirus.

But its launch was pushed back to February, and then delayed again as Japan's government declared a state of emergency in early 2021 to curb spiking cases.

Music from the popular Mario games plays throughout the park and a smartphone-linked wristband allows visitors to collect virtual coins by punching blocks, just like the Italian plumber.

Augmented reality goggles attached to a plastic red visor are used in the "Mario Kart" ride, one of the park's main draws that promises to bring the racing game to life.

The ride follows a track around the foreboding castle of Mario's enemy Bowser, an evil turtle, but each seat has a steering wheel and players can collect and shoot items at opponents.

The zone also boasts a ride based on the cute green dinosaur Yoshi, a Peach's castle, Mario-themed restaurants and lifesize characters from the Mushroom Kingdom.

Fans told AFP they were thrilled about the much-anticipated opening of the park, which cost more than 60 billion yen ($550 million), according to USJ.

"I've been playing Mario since I was a boy. I didn't expect that I could enter the world of Mario, so I'm very excited," said Hiroki Kono, a 19-year-old university student in Osaka.

- 'Waited for this day' -

Office worker Rei Higashimoto, 25, was also delighted about the launch. "I have an annual pass, so I knew this Mario world was being created, and I have waited from one year ago for this day to come," she said.

Similar areas are planned at Universal Studios parks in Orlando and Hollywood.

The first "Super Mario Bros" game came out in 1985 for Nintendo's NES console.

The platform game, in which Mario runs and jumps past obstacles to collect coins and save Princess Peach from the evil Koopa turtles, was based on the "Mario Bros" arcade game released earlier.

Since then, Mario has appeared in myriad formats including games featuring racing, football and golf.

Shigeru Miyamoto, the creator of "Super Mario Bros", took a tour of the park in a promotional video released in December.

"At last, it's complete! It makes a big impression, seeing the park in real life," said Miyamoto, describing himself as Mario's "Dad" as he popped out of a giant green pipe.

"There are smaller activities like the coin block, as well as bigger ones... If you manage to get three keys from various activities, you can take on the final activity -- a battle with Bowser Jr."

"I'm very excited for all of you to experience the park on your own," he added.



China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
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China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)

Chinese director Jia Zhangke's ambitious latest, which utilizes footage shot across two decades, offered a peek into the evolving nature of cinema as it unspooled at this year's Busan International Film Festival.

"Caught by the Tides" combines a story of elusive love with a panoramic portrayal of recent Chinese history using everything from low-resolution digital camera footage to a scene enhanced with cutting-edge AI technology.

And while it explores the meaning of the past, the film's creation emphasized innovation.

Jia assembled and recontextualized footage shot over more than 20 years, including unused scenes from previous films, newly filmed sequences, and random images he captured during his travels -- blending documentary and fiction.

The result, with a format reminiscent of Richard Linklater's 2014 film "Boyhood", creates a vivid record of time passing, particularly through lead actress Zhao Tao, Jia's long-time collaborator and wife in real life.

As she goes on a fruitless search for a lost love, audiences witness her age before their eyes.

The film also uses images related to key events that have shaped contemporary China, such as the successful bid for the 2008 Olympics and the construction of the Three Gorges Dam, which resulted in often overlooked suffering for those displaced by the project.

"After Covid, I felt that one era had ended and a new one was emerging," Jia told reporters in Busan when asked what motivated him to create "Caught by the Tides".

"With the rapid advancements in technology, including science, the Internet, and AI, people's lifestyles have also shifted. I realized that during this period of change, it was important to process the (accumulated) footage I had previously filmed."

Actress Zhao described the film as a "truly precious gift."

"It has allowed me to document my 20s, 30s, and 40s through the medium of film, while also expressing the lives and struggles of many women through the character," she told reporters.

The film played over the weekend as part of BIFF's gala presentation section.

- Covid, cinema and AI -

Jia's feature debut, "Xiao Wu", earned the director BIFF's New Current Award for emerging filmmakers in 1998, when he was just 28.

"It's not an exaggeration to say that my life as a filmmaker started in Busan," Jia said, adding he had missed the South Korean port city since his last visit.

He has since won the top prize at the Venice Film Festival for "Still Life" (2006), among other prestigious awards, establishing himself as one of the most important Chinese filmmakers of his generation.

"Jia stood out as someone who is obviously talented. He was, above all else, original," Kim Dong-ho, the 87-year-old BIFF founder, told AFP of the Chinese filmmaker's younger years.

Now 54, Jia has brought his latest film to Busan at a pivotal moment of change for the festival.

BIFF's opening night featured a streaming title for the first time in its history, and it hosted a day-long conference just on the theme of AI in content production.

At the festival's main venue, giant posters of Netflix's latest streaming projects underlined the shift -- including its opening film "Uprising," positioned next to a festival gift store that ironically proclaimed: "Theater is Not Dead."

Jia's film, by its end, reflects and evokes these changes and what may lie ahead, showing its characters queuing for PCR tests and wearing masks during the Covid pandemic, an era that contributed to the rise of streaming platforms worldwide.

One scene was modified using AI technology, changing the film that the protagonist watches to create a stronger link to an element introduced later in the story -- robots.

When reflecting on his some 26 years in film, Jia said: "It feels like I've been drifting in an endless ocean."

But "completing each film made me feel like I stood tall, having overcome the waves."