Iain ultimately wrote most of this one, though it was something of a joint effort in conception. And hey, we’re back. You can expect weekly updates until we’ve seen out 1991, at the very least. Promise.
This is the game where Mario learns to fly, tail flapping, perhaps on unseen wires in front of platforms casting shadows on a painted sheet sky. Like Super Mario Bros. 2 before it, Super Mario Bros. 3 presents some pretty explicit suggestion that its events are not meant to be taken as the depiction of reality, only this time, rather than a dream, it is instead a stage performance, literally opened with a raised curtain. All the world’s a stage, and all the men and women merely players. In this way, the reiteration of the same damsel in distress plot from the original Super Mario Bros. gains an extra layer of performativity that makes it a little harder to read as an uncritical embrace of the tropes within. That’s only reinforced by how peculiarly it functions in practice, not least in Princess
Peach Toadstool providing helpful hints and items from captivity. It’s not clear exactly who is putting on the production, but there are shows within shows.