Image: Zion Grassl / Nintendo LifeAnd we're back, once again, on the road to Mario Kart World - and we're in the final stretch. On the two previous laps we've looked at every console Mario Kart game from the Super NES up to the Wii. For this final go-round, we're looking at two console entries which span a massive 14-year period. MK8 got some significant expansions across two consoles, so we've split that into two separate sections. And if you're keen to hear more about Mario's non-console karting exploits, we'll take a quick look at those next week before starting our engines up for Mario Kart World on 5th June.Subscribe to Nintendo Life on YouTube813kWatch on YouTube This week's Nintendo developer interviews delved into the game in much more depth than the lacklustre Mario Kart Direct back in April, firing up our excitement once more. Once we've been able to leave the tracks, we wonder what it'll feel like to return to the restrictive circuits in these past games...but that's another article. Let's kick off this final lap with lucky number seven... Lap 1 - SMK, MK64 & Super Circuit Double Dash, DS, Wii Mario Kart 7 (2011) Image: Zion Grassl / Nintendo Life Ah yes, seven entries in and we finally arrive at the first numbered game in the series (pipe down, MK64). There was always something that made me laugh about this being called 'Mario Kart 7', made all the more hilarious by Mario Kart World not being called 'Mario Kart 9'. After cool names like Super Circuit and Double Dash!!, '7' felt decidedly uncool. Which is ironic because the game was anything but. Image: Nintendo Sure, it lacked the local multiplayer pull of the home console releases, but I got to drive a kart that could fly and go underwater, which I'd say is a fair trade-off. I distinctly remember driving around Cheep Cheep Lagoon for the first time and its aquatic appeal blowing my little mind. I played with the 3D slider cranked up to the max, you see, and drifting around that seaweed felt like the future. You know what else was cool? Customisable karts. I didn't particularly care for stats at the time and would instead set out to build the most horrific abomination ever committed to the track. Not getting to see my masterpiece was one of the main reasons why I rarely used the game's first-person driving mode — that and the fact that I tried it out in the back of the car once and it made me sick. - Jim Norman Standout tracks: DK Jungle, Rock Rock Mountain, Cheep Cheep Lagoon Fun fact: Despite the Nintendo Network servers shutting down in April 2024, it wasn't until November that year that the final Mario Kart 7 player finally crashed out of the last-standing game lobby. That's quite the victory lap! What does Mario Kart World take from this? Gliding has had a winged makeover in World, but it's the same fundamentals that we first saw in MK7. Underwater driving is another obvious one, although from what we've seen so far, racing atop the waves is the only option in MKW. The Fire Flower appears to still be going strong after making its series debut in the 3DS entry, though. What score would you give Mario Kart 7 (3DS)? (1,329 ratings) 10 - Outstanding14%9 - Excellent28%8 - Great35%7 - Good17%6 - Not Bad5%5 - Average1%4 - Poor1%3 - Bad  0%2 - Terrible  0%1 - Abysmal1% Mario Kart 8 (2014) Images: Gavin Lane / Nintendo Life, Nintendo There was an audible gasp when I told my colleagues that I'd spent more time playing Mario Kart 8 on Wii U than I have 8 Deluxe. It has nothing to do with preference — Deluxe is clearly the version to play now. But my life was pretty different between 2014 and 2017. Other than a few Virtual Console RPGs and Xenoblade X, Mario Kart 8 was one of the few games I actually played on the Wii U, a console I don't have a lot of love for otherwise. I was at university and barely in my 20s at that point; I also preferred playing stuff on the big screen, so I'd sort of skipped over MK7. Image: Nintendo 8's extravagantly bright courses and colourful worlds were like revisiting my childhood, except now we have anti-gravity and huge courses that look like they stretch for miles and miles. Gorgeous sky-high races and crowded city streets were back on the menu, and I got that old Mario Kart Wii feeling back. The biggest thing I remember was the downloadable content. Nintendo had been dabbling in DLC for a few years then, but I was still a sceptical student who only wanted to spend money on things I thought I would love. Then, Mario Kart 8 dangled the ol' Animal Crossing carrot. Oh gosh. Look, a free Mercedes-Benz was all well and good (though a bit weird), but Zelda, Animal Crossing, and F-Zero courses coming to a Mario Kart game? It's like Smash Bros. but Mario Kart. Oh, Baby Park's back? No, thank you - Hyrule Circuit awaits. I really like all of the DLC courses, but I admit I was a little disappointed by the Animal Crossing one. It's a little basic and while the seasonal changes are beautiful, I'd have loved a little more variety in the course obstacles per season. The big surprise were the F-Zero ones, a series I never really got into. It took Mario Kart to make me want a new F-Zero game. Big Blue on 200cc? It's pure magic. - Alana Hagues Standout tracks: Toad Harbour, Sunshine Airport, Cloudtop Cruise, Big Blue (DLC) Fun fact: Firehopping, or frogging, was a common technique used online to maintain longer boosts from a mini-boost. Nintendo removed this in Deluxe, meaning it was probably an unintentional glitch. What does Mario Kart World take from this? Hmmm... okay, well, since 8 Deluxe is essentially MK8 but better, maybe let's save this... Second Lap It's natural that the Switch version has totally supplanted the original in most players' memories - which is why I was keen to break out the Wii U version in its own section here. Besides disappointment around the Battle offering, this was a substantial, massively satisfying racer with a fun anti-grav hook, and there's something homely and attractive about MK8 on that chunky GamePad minus the bloat and the 'more, more, MOAARRRR'. I say 'bloat' - the Deluxe additions were great, I just quite enjoy the comparative simplicity and 'strangeness' of this version after eight long years with the upgrade. Deluxe is better, but it was all armour over this game's brilliant body. Gavin Lane Editor, Nintendo Life What score would you give Mario Kart 8 (Wii U)? (1,085 ratings) 10 - Outstanding33%9 - Excellent42%8 - Great18%7 - Good5%6 - Not Bad1%5 - Average1%4 - Poor  0%3 - Bad  0%2 - Terrible  0%1 - Abysmal1% Mario Kart 8 Deluxe & Booster Course Pass (2017, 2022-2023) Image: Zion Grassl / Nintendo Life It's the best-selling game on the Switch, although I wonder where it stands in the Most Played rankings. Even if you were one of the Nintendo faithful who'd bought a Wii U and unlocked every Cup, got the DLC, and played MK8 to absolute death, you still had to buy 8 Deluxe. The proper Battle Mode and the ability to hold two items were major boons (although I still miss the strategy that comes with being able to switch between the items à la Double Dash), but it was really the convenience of having full-fledged Mario Kart on the go with two pads that made MK8D indispensable for any Switch owner. You just had to have it. Image: Zion Grassl / Nintendo Life It was interesting to hear the devs discuss "kicking the can down the road" and using the Booster Course Pass as a stopgap. Still, what a stopgap! 48 new tracks, with returning courses, some reimagined, some borrowed from Tour, a couple of totally new ones - with so many new courses, it was tough to get upset with the odd dud, especially if you were getting access to all these via an Expansion Pack sub. And the real-world locales added a different flavour to the mayhem - they generally weren't up there with the best of the other courses, but I liked seeing Nintendo's take on London and Madrid. Throw in all the oddities from before (I loved the amiibo Mii outfits), plus a host of new ones (Labo controls, anyone?) and no wonder it's taken Nintendo eight years to come up with a sequel. - Gavin Lane Standout tracks: Bone-Dry Dunes, Mount Wario, Yoshi's Island (DLC) Fun fact: As of 31st March 2025, this has sold 68.2 million copies and is Switch's best-selling game - that's 59.74 million copies more than the original sold on Wii U, although MK8 was also that system's bestseller. What does Mario Kart World take from this? In some ways it feels like the end of the road for old-style Mario Kart on self-contained tracks - MK8D's completeness gave Nintendo the impetus to push beyond the bounds of the circuits into a bigger world. You might even say a Mario Kart W— *blue shell explodes* What score would you give Mario Kart 8 Deluxe (Switch)? (2,863 ratings) 10 - Outstanding43%9 - Excellent34%8 - Great17%7 - Good4%6 - Not Bad1%5 - Average  0%4 - Poor  0%3 - Bad  0%2 - Terrible  0%1 - Abysmal1% Image: Nintendo And that brings us up to date!... Or does it? In fact, there are a few byways to travel before we hit the highway in Mario Kart World. Join us next week for a lap of honour where we take a quick look at the side-games and also-rans in the Mario Kart series. The sweat, the tears, the evil babies Related Games See Also Share:0 1 Gavin first wrote for Nintendo Life in 2018 before joining the site full-time the following year, rising through the ranks to become Editor. He can currently be found squashed beneath a Switch backlog the size of Normandy. Hold on there, you need to login to post a comment... Related Articles Shigeru Miyamoto Explains Why Donkey Kong Has Been Redesigned You want expressive? You got it Here's A Look At The Size And Inside Of Switch 2 Game Cases Arriving in store next month Talking Point: The Switch 2 Pre-Order Situation Sucks, But Can Nintendo Do Anything About It? 503sier said than done Random: Miyamoto Can't Talk About Switch 2, Talks About Switch 2 Anyway I do what I want, bruv!

“Everything I did and wrote was based in love and my desire to entertain and bring glee and creativity to young people and to everyone,” Paul Reubens says in the newly released Max docuseries, Pee-wee As Himself. Reubens ascended to cultural ubiquity in the 1980s with his smash hit character, Pee-wee Herman. First as a live show, then in the Tim Burton film Pee-wee’s Big Adventure, and perhaps most lastingly, in the television series Pee-wee’s Playhouse that ran for five seasons, Reubens undeniably did just what he set out to. Visually, the show conveyed an off the wall giddiness that didn’t confine itself to typical television set design rules.The jagged-edged red door, the wagging-armed chair named Chairry, the beatnik jazz band’s brick wall alcove—an entire bustling world was contained in the walls of Pee-wee’s playhouse, from the very first episode. The walls and floor were painted with abstract patterns in a variety of colors, and tchotchkes abounded. From Chairry to the three flowers in the flowerbed to Magic Screen, the decorations were his friends and his friends were his decorations. His space was very much alive. “He’s a really imaginative person who doesn’t let other people make rules for him, so naturally his place would reflect his personality,’” Gary Panter, the show’s lead production designer, told the New York Times in a 1987 interview.Chairry (right of centre) and other Pee-wee’s Playhouse staples including Dirty Dog, Chicky Baby, and Cool Cat in the background. Photo: Michael Ochs Archives/Getty ImagesPanter was an alt comic artist who’d designed the original stage sets for Reubens before Pee-wee made his jump to the screen. He worked with two other then-comic artists, Wayne White and Ric Heitzman, to flesh out the world further for the television series. While in retrospect, people might lump the Playhouse in with the rest of the ’80s postmodern milieu, the team had rules to avoid fitting too cleanly into that aesthetic. “Jokingly, we said, ‘Okay, no more ’80s new wavy stuff,” White says. “No flying triangles and squiggly lines.” The result was a surrealist explosion of color and pattern, a Pop Art take on a ’50s sitcom set.Laurence Fishburne appeared as Cowboy Curtis on the show. Photo: John Kisch Archive/Getty ImagesGiven their punk-leaning backgrounds, their approach to creating the sets had a DIY sensibility. The first season of the show was filmed in a loft in SoHo, rather than on a soundstage in Los Angeles, and the team got crafty figuring out how to create the things they’d drawn up, rather than passing the designs off to fabricators to see them through. “We were downtown New York artists struggling to build the stuff in our apartments and little studios here and there,” White tells AD. “It was mostly sculptors and painters and cartoonists [working on the show]. It didn’t have that institutional network of showbiz builders like LA has, there were no scenic artists, no guys that build props, things like that.”This fact is surely part of what gives Pee-wee’s Playhouse its art-school-project sheen: despite its success, it truly was a passion project for those that worked on it. “Being trusted to do this stuff gave me just so much confidence and drive. It really supercharged my sense of being an artist,” says White. “I was 28 years old, and I was willing to do anything. We burned very brightly that first year.”Paul Reubens filming an episode of Pee-wee’s Playhouse. Photo: John Kisch Archive/Getty ImagesFrom the start, Reubens let the production design team explore their wildest ideas. White’s comic strips (like Miss Car, which was published in the East Village Eye prior to Pee-wee’s Playhouse) featured anthropomorphized items, making the jump to Chairry and co. not too far of a leap. “I didn’t have to change [my style] at all,” White says. “I stepped right into another medium and it was a big lesson for me. You could take a vision or an idea or your imagination through all these different mediums, and they’re all really just the same.”Gary Panter and Paul Reubens. Courtesy of HBOPanter, White, and Heitzman didn’t worry about notes or being penned in by the network or anyone else. They were free to explore, to create as many drawings and iterations of items as were needed, from which Reubens would pick the option that he thought worked best. Reubens was already a major star by the time that the show was picked up, so it was intimidating to work with him so loosely at first. Still, “Paul was so interested in what we're doing that he quickly just became a friend,” White explains. “It was easy to go along with quickly, because he was a weirdo artist like me.” Reubens’s comfortability with his own oddity is what made the show so spellbinding, even for the adults who were well outside of the target demographic. Each episode presented an opportunity to disappear into a world where strangeness was not only expected, but celebrated too. “I do remember being on set and that it was the most exciting thing I’d ever done,” Natasha Lyonne, who was in six episodes of the show as a child, says in the docuseries. “I think it felt like permission to be myself.”Paul Reubens and Chairry. Courtesy of HBOFor much of Pee-wee Herman’s heyday, Reubens exclusively gave interviews in character. Though the new documentary thoroughly punctures that facade, the glimpses it offers into the Hollywood home that Reubens lived in from the mid-80s onward show that his personal taste wasn’t all that distant from the wacky world of Pee-wee. There were certainly no talking chairs, but still, the space was filled with color, pattern, and oodles of nostalgic memorabilia. Reubens also nurtured the wildlife that lived in the hills surrounding his house, spreading seeds for deer and crows, growing plenty of plants, and welcoming even the coyotes, wolves, and skunks of the area too. Though Pee-wee’s open door policy with his neighbors is a stretch further than Reubens’s, the nurturing relationship with these creatures certainly feels Pee-wee-esque.The Pee-wee’s Playhouse set. Courtesy of HBODecades after the final episode of Pee-wee’s Playhouse aired, White cites the lasting brilliance of the sets to Reubens himself. “He is the nuclear reactor core of it all. Without him, none of this would have had the magic that it had,” White says. “The character of Pee-wee was so resonant with people and then it just radiated out from there. I give him most of the credit for creating the magic, and we just kind of floated along on it. It was such a strong character and such an enchanted world that it couldn't help and bring out the best of any artist.”

The Multifunctional Art Center of Lhozhag County Middle School / Shenzhen Huahui DesignSave this picture!© Right Angle ImageVisual Arts Center•Shannan, China Architects: Shenzhen Huahui Design Area Area of this architecture project Area:  6009 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Right Angle Image Lead Architects: XIAO Cheng More SpecsLess Specs Save this picture! Text description provided by the architects. The site of our multifunctional art center project is located within Lhozhag Middle School, the county's junior high campus. Funded and built by COFCO Group, the project aims to create a composite art education space that serves as a cross-cultural exchange venue for school staff and students, local residents, international tourists, and artists visiting Tibet.Save this picture!Save this picture!The Weaving and Reconstruction of the Landscape. The site of Lhozhag County Middle School is situated with the mountains to the south and a road to the north. Beyond the road lies a martyrs' memorial square, and further north are National Highway 219 and the Lhozhag Gorge. The campus has undergone construction in different periods, resulting in a fragmented layout dominated by dispersed linear buildings. This has prevented the formation of a cohesive spatial order. Therefore, one of our key objectives is to take this opportunity to reorganize and construct a more organic relationship between the elements of the site. Additionally, the site has a noticeable elevation difference, which, if utilized properly, offers the potential to create more dynamic and engaging spaces.Save this picture!Save this picture!Given the limited area of the site, the design adopts an "embedded" strategy. The first step involves demolishing the existing staff activity room directly facing the school entrance and incorporating it into the new building volume. This move creates a continuous central axis through the campus. The new building is arranged in a compact L-shaped mass at the southern end of this axis, forming a spatial sequence that connects the main entrance of the campus, the front yard, and the small plaza at the entrance to the multifunctional art center. When viewed on a larger scale, the multifunctional center to the south, facing the mountains, and the memorial square to the north, facing the water, create an urban spatial axis within the limited depth of the southern part of Lhozhag County.Save this picture!Save this picture!Massing Configuration and Spatial Morphology. Situated at the northern foothills of a south-facing mountain slope, the project site is constrained by limited space towards the south, making optimal natural daylighting from this direction difficult to achieve. In response, the design incorporates various forms of skylights to maximize solar utilization. The main structure of the Multi-Functional Center is composed of two primary volumes—one linear and one cubic. The elongated volume is organized in a "sandwich-like" spatial configuration, consisting of two solid masses and a narrow central atrium. Flanking the double-height skylit atrium—serving as a hub for circulation, exhibitions, and gatherings—are small-scale spaces housing art classrooms and studios. The square volume contains a 700-seat auditorium, with a skylit side hall designed along its lateral facade.Save this picture!Save this picture!Save this picture!These two volumes are arranged in a near-perpendicular relationship, a deliberate response to both the site's spatial axis and the surrounding buildings. Considering the site's topography, a subtle elevation difference is established between the two forms. The roof of the auditorium becomes a highly accessible outdoor activity platform. On this rooftop, several small, south-facing structures with windows are designed to offer engaging and playful spaces for students' extracurricular activities. Between the main building's southern edge and the northward-sloping mountain base lies a narrow wedge-shaped courtyard, functioning as a "miniature gorge" between architecture and terrain—an extension of both outdoor exhibition areas and indoor activity spaces.Save this picture!Save this picture!Save this picture!Low-Tech Construction and Contextual Integration. Our intention was to express the project's sense of place through a distilled contemporary architectural language—one that remains restrained and respectful in its articulation. The surrounding context—both its unrefined natural landscape and the neighboring built forms—exudes a raw, elemental force that speaks to the site's primal character. Each day, the children's recitations echo through the arms of the mountains, mingling with the distant sound of the Lhozhag Valley stream. I envisioned the new building as a stone emerging from the mountain itself—something that sparks curiosity while also evoking a quiet familiarity. It is curious in the way it appears as a white "magic box" filled with intriguing spatial experiences; yet familiar in its subtle dialogue with the surrounding built environment, sharing a common architectural language. This "stone" is firmly grounded in the land—solid, steady, and reassuring.Save this picture!Save this picture!At the main entrance façade, we designed what could be described as a "Mondrian frame" for Lhozhag. Through a composition of solids and voids, light and reflection, the façade glass is broken down into mirrored panels of varying sizes and hues. These reflections—of the sky, the snow-capped peaks, the building, and the children themselves—create a sense of "familiar strangeness", subtly provoking curiosity and encouraging exploration in their daily routines.Construction methods employ conventional, locally executable techniques, prioritizing recyclable regional materials. Skylight configurations enhance natural daylighting and thermal mass performance, significantly reducing heating energy use in winter.Save this picture!Save this picture!The Canyon of Light. The "Light Canyon Atrium" serves as the spiritual and spatial core of the entire building. It is both an abstract interpretation of Lhozhag's dramatic natural terrain and a contemporary reimagining of the essential qualities of traditional Tibetan architecture. (Diagram: Spatial Archetype) Inspired by the idea that "sunlight breathes life into the canyon, where daily routines unfold", the design celebrates this raw, vibrant energy through spatial scale, light quality, and chromatic composition.Save this picture!Save this picture!Upon entering from the foyer, one ascends a multipurpose stepped platform to the second floor and then turns—only to be met with a breathtaking atrium measuring 60 meters in length, 7 meters in width, and 14 meters in height. This vertical void captures abundant daylight from above, extending across the building to link diverse functional zones. It gathers the distant landscape into its frame, forging a dialogue between interior and exterior, architecture and nature. The experience is ever-changing—one may pass through, pause, encounter, gaze into or out of it—each movement revealing new spatial surprises. Witnessing children in colorful attire moving through the longitudinally unfolding space, where the indoor sky seamlessly merges with the real one beyond, and distant mountains appear to embrace the end of the axis, the envisioned scenarios have materialized as intended.Save this picture!Save this picture!Here, light is "combed" through a kaleidoscopic filter—a gesture that feels uniquely appropriate to Tibet's vivid natural palette. White walls act as canvases for sunlight's seasonal performances, while solid-colored interior corridors peek through varying-sized apertures, adding layers of visual liveliness. Ultimately, the "Canyon of Light" became the guiding concept of the entire project. Through a dialogue between architecture and environment, and a fusion of tradition and modernity, the project creates a space that is both functional and poetic—an iconic centerpiece for Lhozhag County Middle School and a cultural threshold for exchange between campus and community. Yet above all, we hope the true owners of the space are the students themselves. On holidays, when children in traditional Tibetan dress gather here to play and laugh, the scene feels so naturally harmonious that it evokes a beautiful illusion: as if this building has always been here， growing with the children, quietly witnessing the passage of time.Save this picture!The "Roots" and "Wings" of Culture. The 2017 Pritzker Prize-winning Spanish firm RCR Arquitectes articulated a profound view on locality: "We believe that harmony with nature means that architecture must deeply understand its surrounding environment. While we embrace globalization, we hope our architecture remains firmly rooted in its place. We often say that architecture needs both 'roots' and 'wings.' The three of us each have our own origin, something intrinsic that resides within us. Even as we move from one place to another, this origin remains unchanged—it is the product of a place, a climate, and a culture. The world is becoming increasingly interconnected, but we believe that understanding and respecting these origins is essential. They enrich the shared creative force that expresses who we are, and that is deeply important."Save this picture!In Lhozhag, the younger generation navigates a cultural tug-of-war: between their deep Tibetan heritage and the currents of modernity. Like the mirrored facades that reflect distant snow-capped mountains, village rooftops, ancient monasteries, and colorful prayer flags by day—with the children's own figures merging into these scenes—the architecture becomes a metaphor for cultural identity. "Who are you?" "Where do your roots lie?" When they see themselves in these reflections, they encounter both their homeland and the coexistence of their culture with the wider world. Through architectural language, the project aims to show that they need not choose between tradition and modernity but can balance both—rooted in their cultural soil while courageously reaching outward. May the light of the canyon forever illuminate the path in these children's hearts.Save this picture! Project gallerySee allShow less Project locationAddress:Shannan, ChinaLocation to be used only as a reference. It could indicate city/country but not exact address.About this office MaterialsGlassConcreteMaterials and TagsGlass

Google wants to make it easier to create AI-generated videos, and it has a new tool to do it. It’s called Flow, and Google is announcing it alongside its new Veo 3 video generation model, more controls for its Veo 2 model, and a new image generation model, Imagen 4. With Flow, you can use things like text-to-video prompts and ingredients-to-video prompts (basically, sharing a few images that Flow can use alongside a prompt to help inform the model what you’re looking for) to build eight-second AI-generated clips. Then, you can use Flow’s scenebuilder tools to stitch multiple clips together.Flow seems kind of like a film editing app, but for building AI-generated videos, and while I’m not a filmmaker, I can see how it might be a useful tool based on a demo I saw. In a briefing, Thomas Iljic, a product manager at Google Labs, showed me a few examples of Flow in action.In one demo, we watched an animated-style video; the “camera” zoomed out to reveal that the video was playing on a TV; the video zoomed out again to show the room the TV was in. Then, the “camera” slowly flew through a window and watched a truck pass by.It all looked pretty seamless, though I was only briefly seeing the video in a tiny Google Meet window, so I can’t speak to any AI strangeness that might be visible if you look closely. But the idea for Flow isn’t so much about creating long videos. Instead, it’s more about helping filmmakers quickly get their ideas “on paper,” says Iljic.As for Google’s new models announced at I/O, Veo 3 will have better quality, is easier to prompt, and can generate video and sound together (including dialogue), Matthieu Lorrain, creative lead at Google DeepMind, tells The Verge. It’s also better at understanding longer prompts and correctly handling a succession of events in your prompt.Veo 2 will offer tools like camera controls and object removal. And Google’s new image generation model, Imagen 4, has improved quality, can export in more formats, and is apparently better at writing real text instead of the AI garble that often appears in these images.Flow is launching today in the US for people who subscribe to Google’s new Google AI Pro and Google AI Ultra plans. “Google AI Pro gives you the key Flow features and 100 generations per month, and Google AI Ultra gives you the highest usage limits and early access to Veo 3 with native audio generation,” according to a blog post.See More:

Archaeologists found a cremation burial while examining the inside of a bucket from Sutton Hoo, a 1,400-year-old boat burial site in England.