The Politics of Super Mario Bros

Via Jason Kottke:

Quora is full of questions college students ask each other while high, except that sometimes they get answered seriously. Case in point: What is the political situation in the Mario universe? The top answer starts out:

Without going into too much detail, Mario generally lives and works in the Mushroom Kingdom, one of the largest geo-political structures on Mushroom World, in the Grand Finale Galaxy in, yes, the Mushroom Universe.

For the purposes of this answer I will deliberately restrict the terms to discussing Mushroom World, as a comprehensive answer on the entire Mushroom Universe would require covering 20-22 (depending on how you count) Galaxies and frankly, I doubt it would be any more fun to read than it would be to write.

[…]

Mushroom World contains at least 202 separate zones or jurisdictions. These include (but are not limited to) examples of:

  • Imperia, e.g.The Linguine Empire
  • Oligarchies, e.g.Mekanos
  • City-States,e.g.Syrup Castle
  • Proletariat Collectivism, e.g.Robo Land
  • Theocracies e.g.Yoshi’s Island. Although NB: you could also argue that Yoshi’s Island is a:
  • Necroarchy, or “rule by the dead”, e.g.Boo Woods, which itself is a sub-type of an:
  • Absolute Monarchy, e.g. theMushroom Kingdom,Banana Fairy Island and the Beanbean Kingdom. Monarchies are the most common form of political organisation on Mushroom World, with the Mushroom Kingdom representing the main superpower currently, in much the same way that the US fulfills this role on Earth, and with the same precarious dominant status.
  • Areas with no political organisationat all, and contested by various warlords, e.g. Big Island.

A variegated planet therefore, analogous to Earth in medieval times with an equivalent variety of types of rule and organisation: think of the kingdoms of feudal Europe with contemporaneous empires in China, Japan, Mezoamerica and theocracies, city states (e.g. Venice) etc. 

Of all these jurisdictions, the Mushroom Kingdom is by far the most significant, although it’s prime position is under constant threat.

The answer goes on like this for a long time. It is amazing throughout.

[Note: I left out the footnotes; yes, there are footnotes. A bunch of them.]

# gaming # Nintendo # politics # comedy

reblogged from kottke.org

Feminist video game hacking

Via Jason Kottke:

There are very few video games with female heros because video game publishers don’t support them. So what’s a father like Mike Hoye to do when he wants his three year old daughter to be able to see herself as the hero in The Legend of Zelda? Rewrite the game.

link-girl2.jpg

It’s annoying and awkward, to put it mildly, having to do gender-translation on the fly when Maya asks me to read what it says on the screen. You can pick your character’s name, of course - I always stick with Link, being a traditionalist - but all of the dialog insists that Link is a boy, and there’s apparently nothing to be done about it.

Well, there wasn’t anything to be done about it, certainly not anything easy, but as you might imagine I’m not having my daughter growing up thinking girls don’t get to be the hero and rescue their little brothers.

(via Ars Technica)

Matt Langdon and I discussed the issue of gender stereotyping and female action heroes on the Hero Report podcast back in September; you can watch or listen to it here.

# gaming # kids # Zelda # Nintendo

reblogged from kottke.org

Saving Zelda

At the heart of a tour de force about the manifold problems in Legend of Zelda video games since the 1987 original, and how to make new iterations stronger, Tevis Thompson has the following insight about the idea of heroism upon which all of the Zelda games are based:

The point of a hero’s adventure… is not to make you feel better about yourself. The point is to grow, to overcome, to in some way actually become better. If a legendary quest has no substantial challenge, if it asks nothing of you except that you jump through the hoops it so carefully lays out for you, then the very legend is unworthy of being told, and retold.

This is precisely why I — like Thompson and like so many others — were captivated by the original game: There was so much space to explore, so much to do, and something of an uncertainty at times about how to proceed. And it’s why the whole concept of a heroic journey or adventure continues to resonate with so many people, within the world of video games (where the risks are obviously mitigated) and in life (where the risks remain but where the adventures are one’s own).

# Nintendo # heroism # Zelda # gaming

reblogged from Maxistentialism

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