Between plumbers and mushrooms. The cinema adaptation of the
classic video game
Super Mario Bros
Entre fontaneros y champiñones. La adaptación cinematográca del clásico
videojuego Super Mario Bros
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January-June of 2026
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Corral Rey, M. N. and Linares Barrones, A. (2026). Between plumbers and mushrooms. e cinema adaptation of the classic video game
Super
Mario Bros
.
Doxa Comunicación
, 42, pp. 339-358.
https://doi.org/10.31921/doxacom.n42a2668
María Nieves Corral Rey.
PhD in Communication from the Inter-University Doctorate Programme in Communication
at the University of Malaga (2017), Degree in Audiovisual Communication and Master in Cinematography. She was
Assistant Lecturer at EADE and currently works as a substitute lecturer at the University of Seville. She is also the author
of several book chapters in SPI-indexed publishers and research articles in specialised journals. She collaborates in
national R&D projects (URJC), as well as research groups at the University of Malaga (Spain) and the Universidad
Técnica Particular de Loja (Ecuador). Her lines of research revolve around contemporary audiovisual narrative, media
literacy and the relationship between cinema and video games.
University of Seville, Spain
[email protected]
ORCID:
0000-0002-3365-097X
Álvaro Linares Barrones.
Graduated in Audiovisual Communication from the University of Malaga (2014) and in
Advertising and Public Relations from the University of Seville (2019), he studied a Master’s Degree in Scriptwriting,
Narrative and Audiovisual Creativity (2016) and holds a PhD in Communication from the Interuniversity Doctorate
Programme in Communication at the University of Seville (2020). In addition, he has several book chapters in SPI-
indexed publishers and research articles in specialised journals. He is a member of the Eikon research group (University
of Seville). He currently works as a substitute lecturer at the University of Seville and previously taught at the Centro
Universitario San Isidoro (attached to the Pablo de Olavide University). His lines of research revolve around television
ction, the construction of villainous characters, audiovisual representation of social groups at risk, transmedia
narratives and the relationship between cinema and video games.
University of Seville, Spain
[email protected]
ORCID:
0000-0002-9801-7104
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
Recibido: 13/05/2024 - Aceptado: 10/10/2024 - En edición: 06/11/2024 - Publicado: 01/01/2026
Resumen:
En este artículo convergen cine y videojuegos con el objetivo de analizar
el tratamiento audiovisual de los personajes que adquieren un papel im
-
portante en el lme Super Mario Bros: La película (Horvarth y Jelenic,
2023) y las transformaciones planteadas respecto al videojuego que se
toma como referencia. Para ello, se desarrolla un análisis de contenido
Received: 13/05/2024 - Accepted: 10/10/2024 - Early access: 06/11/2024 - Published: 01/01/2026
Abstract:
In this article, cinema and video games converge with the aim of
analyzing the audiovisual treatment of the characters who acquire an
important role in the lm Super Mario Bros: e Movie (Horvarth and
Jelenic, 2023) and the transformations raised with respect to the video
game that is taken as a reference. For this purpose, a qualitative content
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Super Mario Bros
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cualitativo de corte descriptivo-interpretativo atendiendo aquellos as
-
pectos más signicativos relacionados con la dimensión física, psicoló
-
gica y de acción de los personajes. Los resultados apuntan que en la pelí
-
cula el protagonismo recae en la función de todos para lograr el objetivo,
motivo por el cual trabajan de forma interdependiente por un propósito
común. Además, la narrativa cinematográca permite una exploración
más profunda y matizada de los personajes y sus relaciones. Asimismo,
para dar vida a la narrativa de esta película, encontramos una serie de
referencias a personajes, vestuarios, elementos o espacios no solo del vi
-
deojuego que se toma como referencia, sino también de otras cciones
interactivas desarrolladas por Nintendo.
Palabras clave:
Cine; industria audiovisual; personaje; Super Mario; videojuegos.
analysis of descriptive-interpretative cut is developed and attention
will be given to those aspects that are more signicant in their physical,
psychological and social dimensions. e results indicate that all the
lm characters play a primary role in that they all have to achieve the
main objective, for which reason they all interdependently pursue
that common goal. Additionally, the lm narrative allows for a deeper
and more nuanced study of the characters and their relationships.
By the same token, so as to esh out this narrative there is a series
of references to characters, costumes, elements and spaces not only
appearing in Super Mario Bros. 1 but also in other interactive ction
games released by Nintendo.
Keywords:
Cinema; character; cultural industry; Super Mario; video games.
1. Introduction
It was Levis (1997) who predicted that video games would become an authentic mass phenomenon. His prophesy came true
insofar as it is now one “that overcomes social barriers […] being present in the daily lives of most of the population” (Calderón
Gómez and Gómez Miguel, 2023, p. 2) and which “has a huge market penetration among children and teenagers” (Urbina et
al., 2002, p. 1). Moreover, it is regarded as the sector of the culture industry that has grown most over the past years (Williams,
2022), aimed especially at teenage audiences interested in technology (Calderón Gómez and Gómez Miguel, 2023).
As economic performance is one of the main drivers of the video game industry, it is impossible to ignore that “this industry
is a rmly established and hugely diversied entertainment sector that generates huge prots” (Calderón Gómez and Gómez
Miguel, 2023, p. 2). But, unlike the social debate on the normalisation of rape culture or structural male chauvinism in the
classic narratives of this medium (Calderón Gómez and Gómez Miguel, 2023), there are also gures like Shigeru Miyamoto
(the creator of dierent versions of
Donkey Kong
and
Super Mario Bros.
, among others, for the company Nintendo), who is
internationally recognised as the principal architect of modern educational video games, with a special interest in dispensing
with violence.
Having said that, mention should go to the study performed by Downs and Smith (2009) who highlighted that, in this medium,
aspects like nakedness, disproportionate body parts and inappropriate clothing were the most commonplace in female
characters. is is borne out by the conclusions of Rodríguez-Prieto (2016), asserting that women tend to be represented as
passive and fairly hypersexualised characters. However, the author explains that male characters are usually dened by the
representation of their physical strength and their leading and dominant role. In this connection, it is worthwhile noting that
Miyamoto has not distanced himself much from this conventional characterisation, for the role played by Princess Peach in
his Super Mario
saga is more or less that of a damsel in distress (Curiel, 2018), with a completely passive role, and the principal
objective of the main character in his journey through all the levels. However, her physical characterisation diers from the
aforementioned feminine prototype, for she is very demurely dressed.
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Against this backdrop, the object of study is both the video game
Super Mario Bros. 1
and the animated lm
e Super Mario
Bros. Movie
(Horvath
and Jelenic, 2023). e focus is placed here on the main characters in the lm and their dierences
with respect to the original video game. In other words, this study involves a detailed visual analysis, employing qualitative
research methods, of how the dierent dimensions –physiological, psychological and that of action– of the main characters
are eshed out in the story. Additionally, the second research objective is to determine whether gender roles or stereotypes
are perpetuated.
It warrants noting that little research on Super Mario as the main object of study has been conducted to date. ose studies that
have indeed done so (Suárez and Pareja, 2018; Planells, 2015) have served as a basis for elaborating the theoretical framework.
e lm adaptation of the video game (Horvath and Jelenic, 2023) has broadened the range of objects of study including the
evolution of the social context, the convergence between video games and cinema and the change in roles of characters,
underscoring the empowerment of female characters in broadcast media.
2. Contextual framework
2.1. Characters and their dimensions
Before their appearance in the world of ction, characters were approached as objects of study from the perspective of
narratology (Aumont and Marie, 1991) owing to the close relationship between them. Traditionally, Aristotle (1974) employed
dialectic to study the link between characters/subjects and their actions in stories, a premise that was subsequently taken up
by more contemporary theories such as the actantial model developed by Greimas and Courtés (1982). For his part, Chatman
(1990) claimed that this relationship between characters and action derived from the temporality of stories. Whereas for
structuralist-formalist literary analyses (Propp, 1981; Greimas, 1987) characters were one of the structural elements of the
storyline, their actions in the narrative justifying their existence. From a psychological point of view, literary authors and critics
did not share their idea of characters, asserting that the story did not depend on the events unfolding in it (Chatman, 1990).
Irrespective of the story setting, both visions, that of action and that of psychology, are included in character studies (Pavis,
1983; Ezquerro, 1990) in which they are understood as narrative categories. It is a conception that unites the distinctive aspects
of each perspective in a lm script. In this respect, mention should go to the narrative analytical study performed by Casetti
and Di Chio (1998) addressing characters through the identication of their physiological, psychological and sociological
characteristics to determine their construction and functioning as elements of the story. Lastly, as one of the objects of study
here is a video game, it includes the study of virtual characters as central elements of gameplay from the three perspectives
from which they are constructed and represented:
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–
Characterisation in which the characters are studied as elements of a ctional world: outward appearance, acting, verbal
information and the role assumed.
–
Function in which characters are addressed as elements of gameplay: identication, status, attributes and actions/movements.
–
Representation, which refers to the actor or user for whom each character is a sort of mask: unpresented, indicative or frag
-
mentary representation and full representation (individual, collective or multiple).
In light of the foregoing and the results of dierent studies of characters as a narrative category of lm (Bordwell, 2009; Galán
Fajardo, 2007; Caminos, 2007; Pérez Rufí, 2008; Sánchez Noriega, 2000) plots (Chatman 1990; Greimas, 1987), three dierent
dimensions for analysing them have been established here, namely, physiological, psychological and that of action.
e rst dimension includes the physiology and identity of characters (Casetti and Di Chio, 1998). Attributes such as age, sex
and outward appearance (Propp, 1981) give each character in a story certain particularities (Johnson, 1995; Moritz, 2001).
Physical appearance comprises elements that characterise (Parker, 1998) and symbolise the features of a character (Field,
1995), a physiological dimension that also includes physical defects and deformities (Egri, 1960). ey are features that refer
to narrative adjectives that represent the personal qualities of a character that are visible and identiable in the story (Garrido
Domínguez, 1996). is study draws from the proposal put forward by Dyer (2001) which divides the physiological dimension
into physiognomy (sex, age, skin colour, weight and height), image (apparel, hairstyle and other aspects) and gestures (formal
or social and informal or involuntary codes).
As to the psychological dimension of characters, its construction is based on the classication proposed by Foster (1983) which
dierentiates between at and round ones. Its more recent reinterpretation in narrative terms (Chatman 1990; Casetti and Di
Chio, 1998) qualies the dierences between these two categories. Whereas at characters are simple and one-dimensional,
round ones are complex and multidimensional with their own psychology and personality (García Jiménez, 1993). e latter is
naturally related to the rest of the characters (Onaindia, 1996), but at the same time is unstable and rife with doubt (Alonso De
Santos, 1998). Another aspect that should be included in the psychological dimension is temperament as a conditioning factor
of personality (Sánchez Escalonilla, 2001). Following Hippocrates’ humourism, it is possible to establish four temperaments
in behavioural terms:
–
Sanguine. Cheerful, outgoing and passionate individuals who cope with adversity calmly and self-condently.
–
Choleric. Persevering, extroverted and individualistic individuals who are self-demanding and impulsive.
–
Phlegmatic. Reective, introverted, obsequious and uncommitted individuals.
–
Melancholic. Restless, introverted, shy and solitary individuals who are prone to derealisation.
In sum, the psychological dimension is determined by the personality or disposition of characters, a principal factor for
eshing them out which can be seen in the story through their decisions (Aristotle, 1974), actions (Vale, 1989), individualism
(Tomashevski, 1982), relationships with others (Alonso De Santos, 1998) and self-concept (Bentley, 1982).
As to the dimension of action, this is determined by the character arc (Seger, 1991; 2000) which, in turn, depends on the goal
that the character should reach in the plot (Chion, 1988). e idea is to understand the actions of characters through a logical
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inevitability (Blacker, 1993) that prompts and drives them to achieve their objectives (Vale, 1989), which can change their
initial personality or modus operandi (Brenes, 2012). ese arcs are therefore a useful tool for constructing characters from a
more intimate perspective. Sánchez Escalonilla (2001; 2013) has proposed the following classication:
–
Flat character arcs. e personality of characters does not change during the plot.
–
Moderate character arcs. e personality of characters undergoes a very distinctive transformation during the plot, resulting
from a metamorphosis in their temperament.
–
Traumatic character arcs. e personality of characters undergoes far-reaching and radical changes converting them into
dierent people as a result.
–
Circular character arcs. e personality of characters undergoes a profound change in the middle of the plot but, at the end of
the story, they recover their original personality while having been positively transformed by the experience.
2.2. Background of game studies
It is important to recall the developments that gave rise to game studies. Although experiments were carried out with the rst
gaming devices at the end of the 1940s and at the beginning of the 1950s, it is generally held that OXO (AS Douglas), created
for the EDSAC computer in 1952, was the rst ever video game. Be that as it may, it was not until the 1990s and the 2000s
that the rst research was conducted in this regard, with pioneering researchers like Janet Murray and Marie-Laure Ryan,
whose studies served as inspiration for literature and cinema and whose approaches contributed to perform in-depth analyses
on phenomena relating to digital narratives and video games (Pérez-Latorre et al., 2017; Parra Bravo, 2023). is research
subsequently served as a basis for future enquiries which gave rise to analytical models for video games based on dierent
epistemological approaches, such as the narratology of video games, addressed by Murray (1999), for whom it was destined to
be a narrative medium, and Tosca (2009), the discursive analysis of video games, analysed by Frasca (2007) and Sicart (2013),
and cultural studies, with Jenkins (2009) at the forefront. At present, the theoretical contributions to game studies of Navarrete
Cardero (2014; 2020) and the critical approaches of Paredes Otero (2020; 2022) are the most noteworthy.
2.3. e relationship between cinema and video games: Super Mario Bros. as a case study
Video games inuence other cultural industries, as is the case with cinema, for they “have inherited the language and forms
of cinema in a new medium based on both visual and interactive aspects” (Tato, 2017, p. 105). Accordingly, the intention here
is to draw comparisons between the video game
Super Mario Bros. 1
and its lm adaptation
e Super Mario Bros. Movie
.
Needless to say, one of the main diculties in doing so is Super Mario, the main character in both. For this reason, in cinema
“the character becomes an essential vehicle for allowing us to delve freely into that sequence of moving images […] it makes
us feel the same desires and understand the strategies that main characters adopt to achieve their ends” (Tato, 2017, p. 106).
Whereas in video games the narrative needs “touching up so as to give it that new dimension that represents interactivity […]
and mechanics that enable us to interact with that universe” (Tato, 2017, p. 106).
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Having said that, this should be qualied because cinema is contextualised in the broadcast medium that pursues dierent
aims, as well as having diverse and formally dierentiated languages and structures (documentaries, shorts, etc.). In Tato’s
(2017, pp. 106-107) view, however, there are dierent ways of managing the system of languages that video games construct,
such as “games with puzzles, graphic adventures, mobile games, strategy games and so forth”, as dierent forms of expression.
Some of these do not result in a direct narrative that denes the structure of the story, as occurs with
Tetris
and
Candy Crush
,
which dispense with characters and, it could be claimed, do not apparently tell us anything.
So, technological development and progress serve as connecting links between both cultural vehicles, for it has allowed the
video game industry to use lm language to adapt or shape lm productions by, for example, transforming lm sequences that
serve as transitions between the playable sections of video games. To this should be added the intensity and tone of voice, the
acting and the body language of the characters, among other aspects, enhanced by planning, camera work or digital devices,
for scaling, camera angles and framing contribute to the narrative for the purpose of engaging audiences, while the languages
of both disciplines are hybridised.
In the case at hand, the lm adaptation derives from the video game saga, as with others like, for instance,
Wreck-it Ralph
and
Mad Max
. Nevertheless, the opposite is also usually true, for many video games employ lm techniques and narratives to give
their gameplay a hybrid aspect between both cultural vehicles. is can be found in lms like
Until Dawn
(Will Byles, 2015),
which was made into a narrative horror video game, falling into the survival horror subgenre, and
Heavy Rain
(David Cage,
2010), a psychological thriller that was made into an interactive drama, plus miniseries such as
e Wolf Among Us
(Herman,
Latino and Lenart, 2010), which was made into a graphic adventure video game.
Although it is true that when addressing the convergence between cinema and video games, it is essential to take into account
some of the aspects deriving from this. As observed by Lorenzo Otero (2017), the terms “transmediality” and “intermediality”
proposed by Jenkins are a constant in any narrative, while also being closely linked to the new mass society resulting from
contemporality. e author recalls, however, that when broaching the subject of transmediality, attention should also be paid
to the concept of transtexuality, dened by Genette in 1982, in which “intertextual relationships would be restricted to the
explicit and/or literal reference to a text with respect to a previous one. For which reason, according to Genette, intertexuality
is considered to be a mode or type of transtexuality” (Lorenzo Otero, 2017: 258).
Furthermore, dierent narrative forms often intercommunicate, thus enhancing ctional immersion by means of the formula
in which “it is important that they should contain a radical intertexuality” (Jenkins in Scolari, 2013: 34). e presence of
this intertextuality in dierent narrative techniques, formats and languages allows to broaden reality, thus enhancing
the experiences of spectators (Lorenzo Otero, 2017). Intermediality is therefore a mode of interaction between dierent
communication channels or tools and implies integrating one or more media in another mode or channel of communication
(Lorenzo Otero, 2017).
As also noted by Lorenzo Otero (2017), “mass sociology” has given rise to concerns about the transformations that the so-
called “electronic media” have brought about in society and its culture. Communication channels can therefore be understood
as ways of exteriorising a specic idea or message, leveraging its appeal to increase its inuence.
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As to the context at hand, it is also essential to mention intertextuality, which opens a dialogue between a particular
communication format and other arts and/or forms of expression (Martínez Fabre, 2013). is dialogue and the broadening
of meanings both facilitate the construction of multiplatform narratives. From this derives the aforementioned concept of
transmediality (a term coined by Kristeva in 1969 and subsequently developed by Jenkins), which refers to the fact that a
narrative can be presented in dierent media in such a way that they supplement and/or elaborate on the information or
content available. In sum, the idea is to create a more intense and enriching entertainment experience for spectators.
e transmedia narrative universe also draws from and coexists with other concepts like
transmedia storytelling
(Jenkins,
2006; Freire, 2017; Freire-Sánchez, et al., 2023), namely, “ctional content that is developed and evolves in multiple formats
and platforms” (Lorenzo Otero, 2017: 258). As observed by Freire (2023), this universe is also surrounded by other concepts
deriving from the multiverse, such as the gameverse (Villani, 2020), the narrative galaxy (Selva-Ruiz, 2021) and other lesser
known ones like the narrative multiverse (Freire, 2022), to name but a few. In their interesting contribution, Freire et al., (2023)
have recently reviewed all these concepts with the aim of enquiring into how they make scientic research more complex and
confusing, while also dening their dierent dimensions.
In order to provide some background information, Mario was the result of the franchise that started in arcades with the
launching of
Donkey Kong
(1981) and, at a later date,
Super Mario Bros.
(1985), when the character assumed his leading role in
the following saga. It was Shigeru Miyamoto who created this humble plumber, residing in the ctional Mushroom Kingdom,
where he has to overcome a series of obstacles to rescue a princess. In the video game, Mario’s objective is to progress through
dierent levels defeating a series of enemies, to collect objects and to make headway towards his goal –without being killed–
which is none other than to rescue Princess Peach. In other words, he is driven by love and loyalty towards the princess and
his desire to protect the inhabitants of the Mushroom Kingdom. On his way, he encounters other important characters like his
brother Luigi and the villain Bowser, also known as King Koopa, who is holding the damsel in distress prisoner.
In the ctional Mushroom Kingdom, the brothers have to overcome a series of obstacles to rescue the princess from the
abominable Bowser, who is Mario’s archenemy. In order to overcome these obstacles and to defeat his enemies (escaping from
carnivorous plants, murderous turtles, etc.), Mario consumes several elements (mushrooms) to become physically stronger,
while also having extra lives in the form of stars. e video game, which is for audiences of all ages for it contains no explicit
violence, is set in eight universes, each with four levels, meaning that there are 32 levels in all. e universes dier in some
aesthetic and structural respects, while the fourth level is set in a fort located inside a castle, ending with a showdown with
Bowser.
3. Research objectives and methodology
e main research objective is to determine how the virtual characters of the video game featuring Super Mario (
Super Mario
Bros. 1
, 1985) have been adapted in the lm (
e Super Mario Bros. Movie
, Horvarth and Jelenic) released in 2023. e specic
research objective is to establish, with an analysis of the characters appearing in both the video game and the lm, whether the
characteristics of each dimension are reected in the same way when constructing them.
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In order to meet the research objectives, a qualitative methodology was employed, specically, an analysis of the characters
appearing in the lm under study. To this end, a content analysis (Krippendor, 1990), based on a worksheet drawing from the
literature on character studies from the perspective of narrative (Chatman, 1990; Greimas 1987; Propp, 1981), cinema (Casetti
and Di Chio, 2007; Sánchez Escalonilla, 2001) and video games (Cuadrado Alvarado and Planells, 2020), was performed.
Despite the fact that there are many characters in the lm, the analysis was limited to those appearing in the video game and
the lm (150 mins), namely, Mario, Princess Peach and Bowser. e reason behind selecting these three characters is down to
the fact that, in a way, they have an interdependent relationship in the events unfolding in both the video game and the lm.
Taking into account these objectives, it is important to highlight that no similar studies have been performed to date, given the
fact that, although the video game was launched some 30 years ago, the lm was only released last year. It also warrants noting
that, as it is a saga with a large variety of video games of dierent genres on the market, it was decided to select the rst version
of the franchise as the object of study, viz.
Super Mario Bros. 1
, launched by Nintendo Entertainment System in Japan in 1985
and in North America and Europe in 1987.
is analysis worksheet is novel in that it includes the characteristics and roles not only of the characters of a narrative but also
of those virtual characters typical of video game discourses, signifying that it is a tool that can also be employed in other similar
studies. It includes the three main dimensions of characters when studying them in a story (see Table 1): the physiological
dimension which encompasses their outward appearance (age, sex, skin colour, weight and height), image (apparel, hairstyle
and other aspects), gestures (formal or social and informal or involuntary codes) and attributes (elements or objects with
which they interact); the psychological dimension which covers their behaviour (at or round characters), temperament
(sanguine, choleric, phlegmatic or melancholic), verbal information (dialogues, personality and nature of the characters) and
the role played (their principal function); and the dimension of action in which an actor or user assumes the mask of each
character (represented, indicative or unrepresented), the way of acting or modus operandi of the characters and their arcs
(at, moderate, radical, traumatic or circular). e combination of these three dimensions allows to determine the dierences
between these three characters in the video game and the lm.
Table 1. Analysis worksheet
Character analysis (name of the character
)
Film
Video game
Physiological dimension
Outward appearance: age, sex, skin
colour, weight and height
Image: apparel, hairstyle and other
aspects
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Gestures: formal or social and informal
or involuntary codes
Attributes: items or objects with which
they interact
Psychological dimension
Behaviour: at/round
Temperament: sanguine/choleric/
phlegmatic/melancholic
Verbal information: dialogues,
character and nature
Role played: main function
Dimension of action
Representation: unrepresented,
indicative representation, full
representation.
Acting: modus operandi or
characteristic actions
Character arc: at/moderate/radical/
traumatic/circular
Source: own elaboration
4. Results
e results of the analysis of the three characters selected as a sample of both the video game and its lm adaptation, namely,
Mario, Princess Peach and Bowser, are discussed below. ey were selected mainly because they are the most important in the
gameplay and narrative of both productions.
4.1. Mario Bros
In reference to his physiological dimension, Mario’s outward appearance is practically identical in both the video game and
the lm. e most notable dierence has to do with his eyes because in the lm they are blue, whereas in the video game this is
not so clear. Regarding his apparel, although this is basically the same, his dungarees are red in the video game and blue in the
lm (as with his shirt and shoes). Likewise, it should be noted that the colour of his clothing diers somewhat depending on
the narrative context. In the video game, his wears the same clothes whose colour varies slightly only in terms of the items and
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Between plumbers and mushrooms. The cinema adaptation of the classic video game
Super Mario Bros
ISSN: 1696-019X / e-ISSN: 2386-3978
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objects with which he interacts, as well as the dierent settings in which he nds himself. For its part, in the lm his apparel
changes completely when he collects an item or object. Nevertheless, it is important to stress that, despite these variations, he
still maintains other hallmarks like his white gloves and his moustache (see Figure 1).
Figure 1. Physiological dimension of Mario in the video game and the lm
encuentre dentro de las misiones. Por su parte, en la película cambia por completo de
vestuario también en los momentos en los cuales alcanza algún tipo de objeto. En este
último caso, es importante señalar que, aunque cambie de vestimenta, mantiene una seña
de identidad física, como serían sus guantes blancos y su bigote (véase Figura 1).
Fuente: elaboración propia a partir de fotogramas de las obras
1
Además, como parte de su imagen personal, el pelo se representa de la misma forma,
rizado y moreno. Es característico su bigote (se vuelve brillante al atrapar la estrella). En
la pelea con Donkey
,
al atrapar la caja dorada viste un traje de gato color amarillo y
c
uando atrapa la hoja su vestimenta se vuelve marrón simulando a un mapache (en ambas
mantiene su bigote y los guantes). Por otra parte, la gestualidad que conforma la
dimensión física de Mario en el largometraje es más reflexiva, ya que en el videojuego
se limita a levantar los brazos con el puño cerrado y caminar progresivamente. En
cambio, en la película, sus códigos formales o sociales se materializan a través de la
manera de actuar con el resto de personajes: amigable, natural y cercano; y sus códigos
i
nformales se reflejan sobre todo en los gestos faciales y en los movimientos que realiza
con los brazos. En referencia a los atributos o elementos propios para interactuar dentro
del relato, en ambas narraciones el personaje atrapa diversos elementos (en el
largometraje existe mayor variedad). Una diferencia existente es que el videojuego el
personaje puede lanzar de forma autónoma bolas de fuego, lo cual en la película no se
representa.
En cuanto a la dimensión psicológica, el comportamiento de Mario es diferente en ambos
discursos debido a la
estructura
narrativa. En el videojuego, no existe un componente
1
Los fotogramas son usados con fines ilustrativos y como ejemplos de las cuestiones tratadas. Los derechos
de dichas imágenes pertenecen a los titulares del copyright de las producciones mencionadas y han sido
incluidas bajo el amparo del derecho de cita establecido en el Art. 32 de la Ley de Propiedad Intelectual de
España. En este caso, los derechos de estas imágenes pertenecen a Nintendo (videojuego) e Illumination,
Nintendo, Universal Pictures y Sky Studios (película).
Source: own elaboration based on frames from both
1
Continuing with Mario’s personal image, his hair is always brown and curly, with his moustache standing out as one of his most
distinctive physical attributes. Similarly, his moustache is one of his distinctive physical attributes (it glistens when he gains a
star). In his ght with Donkey Kong, when he gains a gold block, he dons a yellow cat costume, whereas when he catches a leaf,
his costume turns brown like the fur of a raccoon (in both cases, he retains his moustache and gloves). As to his gestures, the
character is more reective in the lm than in the video game in which he is invariably seen running with his arms in the air
and sts clenched. In the lm, in contrast, his formal or social codes are expressed in the friendly, natural and familiar way in
which he interacts with the rest of the characters, whereas his informal codes are reected above all by his facial gestures and
the way in which he moves his arms. Referring to the elements with which he interacts in the story, in both the video game and
the lm he collects dierent items and objects (these being more varied in the lm). One of the dierences is that in the video
game the character can throw reballs at will, an attribute that he does not possess in the lm.
1
e frames used to illustrate the matters addressed in this study belong to the copyright holders of the aforementioned productions and have been included here
under the right to quote established in Article 32 of the Spanish Intellectual Property Rights Act. In this case, the rights of the images belong to Nintendo (video
game) and Illumination, Nintendo, Universal Pictures and Sky Studios (lm).
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Moving on to Mario’s psychological dimension, he behaves dierently in the video game and the lm owing to the narrative
structure of both. In the video game, there is no way of evaluating the evolution of his behaviour, signifying that he is a at and
simple character. In the lm, for its part, his behaviour is round, complex and three-dimensional. As to his temperament, this
is sanguine in both cultural products, for he is always cheerful and outgoing and, above all, undertakes his missions resolutely
and self-condently. With respect to verbal information, although Mario does not speak in the video game and, therefore,
there are no dialogues, the captions oer clues about his character and mission. In the lm, by contrast, as well as enriching
the story from the outset the dialogues oer deeper insights into his personality and mission. Once he had fullled this, he has
to meet a second challenge with the help of the rest of the characters appearing in the story. Lastly, in both the video game and
the lm Mario plays the same role, namely, that of main character and hero.
In conclusion, Mario’s modus operandi is very similar in both cultural products. He is depicted in full, except that in the video
game his representation is rather repetitive for he can only be seen side on when he moves and face on when he stops, whereas
in the lm he performs a much more varied repertoire of movements and actions. As to specic actions, he only throws reballs
in the video game and can only y in the lm. Lastly, Mario’s character arc is moderate in both cultural products because this
changes somewhat after he has met his previously established objectives.
4.2. Princess Peach
e physiological dimension of the character of Princess Peach is very dierent in the video game and the lm, except for her
general appearance. As to this last aspect, the only dierences lie in her blue eyes, the colour of which are indiscernible in
the video game, in her height, for she is taller and slimmer in the lm, and in her hair, which is long and reddish in the video
game and long and blond in the lm (see Figure 2). In contrast, in the ction lm the character wears a variety of costumes and
jewellery (e.g. a long pink dress, a long red and white dress, a pink scuba diver suit with a blue pendent, long white gloves and
a round crown decorated with coloured stones). Lastly, as to her costumes and accessories, these are more varied in the lm
than in the video game in which she only wears a white dress with a red hem and a gold crown.
Figure 2. Physiological dimension of Princess Peach in the video game and the l
ficcional que permita evaluar una evolución comportamental en el personaje, por ello es
plano y simple. Por su parte, en la película desarrolla una conducta redonda, compleja y
tridimensional. En el caso del temperamento, mantiene el mismo en los dos productos
audiovisuales: sanguíneo, pues el personaje es alegre y extrovertido, y, sobre todo, se
enfrenta a las misiones con determinación y seguridad. En referencia a la información
verbal, en el videojuego
,
al no existir una voz identificada
,
no se puede establecer una
interacción dialogada, pero sí escrita que deja ver el carácter del personaje y su objetivo.
En cambio, en el largometraje sí se produce una dialogación que enriquece el relato desde
el primer momento
,
por
la naturaleza del personaje y su meta. Una vez cumplida esta
misión principal, se presenta ante el personaje un reto secundario que debe cumplir con
ayuda del resto de personajes de la
narración
. Por último, tanto en el largometraje como
en el videojuego, Mario desempeña el mismo ro
l,
ya que su función principal dentro del
relato es ser el protagonista y el héroe de la historia.
Para concluir, la dimensión de acción de Mario es muy similar en ambas narraciones. La
representación es completa, con la diferencia de que en el videojuego es más estática y
solo podemos ver al personaje de perfil cuando se mueve y de frente cuando se detiene.
En el caso de la película, su representación es más variada, pues se puede visualizar en
diferentes movimientos y actuaciones. En relación a la interpretación, el
acting
y los
movimientos son similares tanto en el videojuego como en el largometraje. La diferencia
es que en el videojuego puede lanzar bolas de fuego, una actuación no reflejada en la
película. En contraposición, en el discurso cinematográfico el personaje puede volar. Por
último, el arco de transformación en ambos relatos es moderado, porque se produce un
cambio intermedio identificado con su evolución como personaje, al conseguir sus
objetivos marcados previamente.
4.2 Princesa Peach
El personaje de la Princesa
Peach
representa una dimensión física muy diferente en
amba
s produc
ciones
audiovisuales excepto en la fisionomía, pues se cumple la misma
apariencia
. La única diferencia es la representación de los ojos azules, un rasgo facial no
reflejado en el videojuego. Otro aspecto a señalar de su fisionomía es la estatura, pues
en el videojuego es baja y en el largometraje de ficción es más alta y esbelta
(
véase
Figura 2). En cuanto al vestuario, es más variad
o
en la película
,
pues en el videojuego
solo lleva un vestido blanco y una corona color dorado.
E
n
cambio,
en el largometraje
de ficción se
dota
al personaje de diversidad de
atuendos
y una variedad de joyas (vestido
rosa largo, vestido blanco y rojo largo, uniforme rosa en forma de buzo, acompañado de
colgante azul sobre su pecho, extensos guantes blancos y corona redonda decorada de
piedras de colores). Por su parte, el cabello presenta una ligera modificación, pues en la
primera versión del videojuego
su
melena
es
rojiza
y en la película de animación,
es
rubia.
Figura 2. Dimensión física de Peach en el videojuego y en la película
Fuente: elaboración propia a partir de fotogramas de las obras
Source: own elaboration based on frames from both
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January-June of 2026
Between plumbers and mushrooms. The cinema adaptation of the classic video game
Super Mario Bros
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Moving on to Princess Peach’s gestures, these are invariably the same in the video game, in contrast to her informal and formal
codes in the lm which are more representative in that she is much more dynamic. By and large, her gestures reect strength,
determination, courage and empowerment. Likewise, the items and objects within her reach in the video game are not present
because she is static during gameplay. By contrast, in the ction lm Peach uses weapons to confront her enemies, while also
interacting with the ower-like elements of the universe and eating mini mushrooms which allow her to acquire special skills.
Similarly, Princess Peach’s psychological dimension is very dierent in both cultural products. is is owing to the fact that
as she is static and does not have any particular objective in the video game, she does not develop any specic behaviour or
temperament. In the lm, by contrast, the character plays a more important role in the story, developing a round and complex
behaviour, as well as a choleric temperament resulting from her individualism, self-discipline and impulsivity. With regard
to verbal information, she does not speak in the video game, her one and only dialogue being in caption form. In the lm,
however, her dialogues denote that she is an educated young woman, with a rm but sweet voice, although quick to anger in
situations that pose a threat to her or her subjects. She is characterised by her loyalty, self-condence and decisiveness, while
she also learns from her mistakes and copes with her fears with character and courage. As before, the role that she plays in
the video game is not the same as that in the lm, for the story of the former is rather that of a damsel in distress waiting to
be rescued. In the lm, she is one of the main characters and assumes the role of an unattainable, empowered, strong and
inexible young woman who does not need any man to reach fullment.
Lastly, in the dimension of action Princess Peach is fully depicted in both the video game and the lm, although in the former she
is only seen side on. As to her actions, practically the same can be said, for in the video game she is shown as a uniform character,
without performing anything of note. Unlike in the video game, in the lm she moves at will, jumping, leaping and pirouetting to
overcome the obstacles in her way, mainly bricks and malign plants which fall from a platform emerging from the water before
crossing the sky of the Mushroom Kingdom. Nor does she shy away from ghting with Mario (who arrives at her castle without
an invitation) or against Bowser’s troops (Koopas and Goombas), in both her kingdom and the real world to which Mario and
Luigi belong. All her actions reect her determination, ghting spirit and readiness to overcome the adversities and enemies in
her path. Concerning her character arc, this is non-existent in the video game because she does not appear until the end of the
story and does not perform any type of action. In the case of the lm, she has a circular arc because she undergoes a profound and
radical change to become a person with a dierent behaviour. e vulnerability and suspicion that she shows at the beginning of
the plot ultimately disappear, as evidenced by her more self-condent and determined actions.
4.3. Bowser
In the physiological dimension, Bowser is a huge creature characterised by his leathery green and yellow skin. His body is also
enveloped by a spikey carapace like that of a turtle, while some of his body parts resemble those of a dragon, all of which points
to a male creature (see Figure 3).
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Figure 3. Physiological dimension of Bowser in the video game and the lm
En la dimensión física de la figura de Bowser nos encontramos con una criatura animal
gigante caracterizada físicamente por piel de textura coriácea, de colores verde y
amarillo
. Está envuelta por un caparazón reforzado con elementos punzantes, que
responde a la fisionomía de una tortuga. También tiene partes asociadas a la anatomía de
un dragón. Todo esto indica que nos encontramos con una criatura vinculada al género
masculino
(véase Figura
3)
.
Figura 3. Dimensión física de Bowser en el videojuego y en la película
Fuente: elaboración propia a partir de fotogramas de las obras
En cuanto a la imagen personal, en el videojuego no se muestran elementos decorativos
destacables, ya que aparece en su estado natural de reptil. Como detalles físicos
destacables, en la película, Bowser tiene el cabello peinado hacia arriba y es de color
rojo, al igual que las cejas, y porta pulseras metalizadas con pinchos en varias partes de
su cuerpo. Su gestualidad es mayor en el largometraje expresando frialdad, dureza e
inflexibilidad. Aprieta sus manos como forma de expresar la ira en determinadas
s
ituaciones e impone el miedo meramente con su presencia y mirada. Además, expulsa
fuego por la boca de forma voluntaria hacia sus enemigos. Porta elementos y objetos
punzantes para interactuar como forma de ataque. En el videojuego, el personaje se limita
a avanzar y retroceder a través de saltos involuntarios lanzando martillos de metal
procedentes de su caparazón y expulsando llamas de fuego por la boca.
En la dimensión psicológica, Bowser mantiene el mismo comportamiento y
temperamento en ambas producciones culturales: plano y colérico. Al desempeñar el rol
de villano y antagonista en los dos discursos
,
tanto su personalidad como su objetivo son
similares
. En el videojuego, no es posible identificar su voz mientras que en el
largometraje tiene una voz firme y grave, que denota una personalidad desafiante. Tan
solo en los momentos en los que interactúa con Peach cambia su tono de voz a uno más
dulce y sosegado con el objetivo de conquistarla. Además, en la película desarrolla un
carácter frío, cruel y calculador siendo incompasivo, desprovisto de valores morales y
de afectividad con el resto de personajes (excepto con Peach). Por ello, su naturaleza es
malvada y arrogante con un afán de poder inmensurable.
Por último, Bowser desarrolla una dimensión de acción donde su comportamiento está
marcado por su objetivo.
Su
representación en ambas producciones audiovisuales es
completa, aunque en el videojuego solo se puede visualizar de perfil.
Su
interpretación
y
acting
en el videojuego se limita a avanzar, retroceder y lanzar llamas de fuego de
Source: own elaboration based on frames from both
As regards Bowser’s outward appearance, in the video game he is simply depicted as a reptile, without any accessories. In
the lm, his most noteworthy physical features include his sticking up hair, which is red like his bushy eyebrows, and the
fact that he wears metal bands with spikes on several parts of his body. He gesticulates more in the lm, expressing coldness,
callousness and inexibility, clenches his sts to express rage in specic situations and his mere presence and stare are enough
to strike fear into the hearts of his adversaries. Additionally, he breathes re at his enemies at will. He also carries sharp
elements and objects with which to attack them. In the video game, the character involuntarily jumps backwards and forwards
throwing metal hammers extracted from his carapace and breathing re.
In the psychological dimension, Bowser displays the same at and choleric behaviour and temperament in both cultural
products. As he plays the role of the villain and antagonist in the video game and the lm, he has a similar personality and
goal. In the video game, he has no identiable voice, whereas in the feature lm this is rm and deep, thus reecting his deant
character. Only when he interacts with Peach does his voice change, which now has a sweet and calm tone with the aim of
winning her heart. Furthermore, in the lm he possesses a cold, cruel and calculating personality, being pitiless and devoid of
moral values and emotion with respect to the other characters (except for Peach). In short, he is evil and arrogant and has an
unquenchable thirst for power.
Lastly, in the dimension of action Bowser’s behaviour is inuenced by his objective. He is fully represented in the video game
and the lm, although in the former he is only seen side on. In the video game, his movements boil down to jumping backwards
and forwards and breathing re automatically. In contrast, in the lm he mainly attacks using hard blows, confrontation,
blackmail and re. Regarding his character arc, this is non-existent in the video game because he appears at the end of the
story in the nal showdown with Mario. In the lm, he has a at arc for his personality does not develop during the plot.
When he is defeated, he shows a certain degree of repentance, but this is not seen in his attitude but only in the words that he
pronounces as a strategy of surrender.
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Between plumbers and mushrooms. The cinema adaptation of the classic video game
Super Mario Bros
ISSN: 1696-019X / e-ISSN: 2386-3978
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5. Discussion and conclusions
After analysing the three dimensions –physiological, psychological and that of action– of the characters of Mario, Princess
Peach and Bowser in their representation in the video game and the lm, we have arrived at some interesting conclusions.
In relation to our general research objective, there is a certain physical coherence in that the outward appearance of the
characters is respected in the video game and the lm, alike. Having said that, there are indeed some minor variations in the
shape of additional physical details aimed at giving the characters greater visual depth, such as Bowser’s red hair and Princess
Peach’s more varied attire, which do not appear in the video game. However, their most recognisable physical attributes, like
Mario’s moustache and Princess Peach’s long hair, are maintained.
In the lm there is evidently more verbal and physical interaction between the characters, thus oering the opportunity to
explore the interpersonal relationships and to develop dialogues between them in much more depth than in the video game.
In turn, this allows to develop the personality and impulses of the characters in greater detail as the plot progresses. Similarly,
the psychological dimension of the characters is enriched in the lm owing to its more complex narrative structure. Whereas
in the video game the characters tend to be atter and simpler, in the lm they are more complex and rounder, with more
discernible arcs. As to the dimension of action, albeit present in both the video game and the lm, in the latter the capabilities
and actions of the characters are more varied and detailed. Whereas in the video game their movements are simpler and more
repetitive owing to technological constraints.
With respect to the role represented in the discourse and in relation to the secondary research objective, in the video game
the characters maintain their principal roles with Mario as the hero, Princess Peach as the damsel in distress and Bowser as
the villain. In the lm, these archetypes are attenuated by representing the characters in a more complex manner. Special
mention should go to Princess Peach for her representation changes drastically from the video game to the lm, the way she is
characterised now being closer to the conception of
turris eburnea
. Albeit subject to Bowser’s physical and verbal abuse, she is
a young woman who is far removed from the traditional stereotypes. e helping hand that Mario, as the main character of the
story, lends her is important but not essential because at the beginning of the lm it is clear that the princess has the strength
to overcome the obstacles on her own. From a narrative perspective, Princess Peach and Bowser are the two characters that are
most eshed out in the lm, including costume details and psychological and physical nuances that help to construct special
and symbolic characters.
Mario’s objective is to save Luigi, after his brother has been sucked into a pipe when attempting to x the city’s waterworks
while pursuing their trade as plumbers. However, his secondary mission is to deliver the Mushroom Kingdom and the real
world from the evil clutches of Bowser, with the help of his sidekicks (Peach, Luigi and their mushroom friends). Nevertheless,
at the beginning of the diegesis neither does Peach need Mario nor vice versa because in order to save his brother he has to
take up Donkey Kong’s challenge to win over his army. However, it can be concluded that all the characters play a similar role
in achieving the objective, for which reason they proceed interdependently in pursuit of a common goal.
Moreover, the princess already has an unattainable, hard and inexible personality before Mario’s arrival in the kingdom,
because she has been able to develop autonomously without the need for a male gure. It is when the plot begins to unfold
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| 353
that Mario asks Peach to help him to save Luigi, which unites both characters in pursuit of the common goal of putting an end
to Bowser. roughout this rst part of the plot, the character who needs saving is Luigi, not the princess. Even though Peach
is ultimately captured by Bowser, it is really an astute ploy of hers and she is capable of resolving the dilemma on her own. In
short, neither does Peach require the help of a male character, nor does Mario require that of a female one, it being their joint
collaboration and equal protagonism that drive the plot towards the ultimate goal of resolving the conict.
In other words, the lm narrative allows for a deeper and more nuanced analysis of the characters and their relationships,
which enriches the narrative and makes for a more emotional experience for audiences. From the word go, the plot is fast
paced with sound eects that recall the video game, which is always used as a reference (
Super Mario Bros. 1
, 1985). is
becomes more evident as the lm progresses and the main characters overcome obstacles similar to those appearing in the
video game. In addition, the virtual universe in which they live is very colourful, an aspect that is particularly eye-catching
for audiences for it brings to mind its similarities with the classic video game, while clearly showing the lm’s emotional and
psychological intentions.
In light of the results of the analysis of the psychological dimension and that of action of the characters, it should be noted that
the violence is more explicit in the lm than in the video game. ere are clashes initially between Donkey Kong and Mario
and then between them both and the Koopas, in which they trade blows and punches throughout the plot. Nonetheless, it
is soft violence exercised chiey by Bowser and his army in pursuit of his prime objective. In this connection, it should be
noted that the violence in this lm can be regarded as soft because it does not include whippings, mutilations, broken bones,
humiliations, sexual assaults, electrocutions, crucixions, torture or other such acts.
Although Bowser is a dark, domineering and deant creature, he displays the more aectionate side of his character when he
sings softly to Peach, albeit a song with certain possessive connotations. As in the video game, it is also possible to observe
certain Manichaean tendencies in the main characters, with a number of contradictions in the case of Bowser. erefore, the
intention of Bowser’s violence is the submission of the princess archetype, something he fails to achieve.
Finally, in the lm’s narrative it is possible to encounter a number of references to characters, costumes or settings not only
appearing in the video game under study (
Super Mario Bros. I
, 1985) but also in other interactive ction products developed
by Nintendo, like, for example, the cat costume worn by Mario which is borrowed from
Super Mario 3D Land
(Nintendo 3DS,
2011); the aesthetics of the mushrooms protecting Princess Peach which come from
New Super Mario Bros. U
(Wii U and
Nintendo Switch, 2012); and the crystal ask in which Bowser is placed after being shrunk down to a petite version of himself,
which is used by this character in the video game
Super Mario 3D World
(Wii U and Nintendo Switch, 2013) to imprison a
mini creature. Moreover, the lm includes other relevant characters already used by the franchise in other games, such as the
pinguin appearing in
Super Mario 64
(1996),
Super Mario Galaxy
(2007),
Super Mario Galaxy 2
(2010) and
Super Mario Odyssey
(2017), plus Donkey Kong, which appears in the lm ghting Mario and which was created by Miyamoto as the main character
of a series of arcade games predating the Super Mario saga, launched in 1981. Although there remains the question of why such
a relevant and well-known character like the antihero Wario does not appear in this lm, for he does so in numerous video
games as the antagonist or main character.
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January-June of 2026
Between plumbers and mushrooms. The cinema adaptation of the classic video game
Super Mario Bros
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Lastly, it can be claimed that the concept of intermediality is present in the lm, for it is a form of interrelationship between
dierent channels, with both the video game, which is used as a reference, and the elements borrowed from the video games
mentioned above. e concept of intertextuality is equally evident in that both productions complement one another. For its
part, the lm provides additional content and nuances with respect to the physical and psychological dimensions of the main
characters. Noteworthy aspects include the mobile platform that emerges from the water and which Mario learns to climb,
which serves as the basis of the game and a clear reference connecting it with the lm. Be that as it may, the fact that Peach
lives in a castle together with mushrooms that hold her in high esteem, that Bowser kidnaps Luigi after being sucked into a pipe
or that Bowser and his acolytes reach the real universe in which the brothers live are interesting additions in the lm. ese
narrative situations can only be developed in a ction feature lm because of the limited scope of the classic platform video
game, as well as the technological limitations at the time.
Future lines of research in this regard, but which are closely linked to the eld of advertising, include the analysis of the
concept of brand movie, as part of the branded content and storytelling strategy of Nintendo and the adaptation not only of
visual aspects but also audio branding (as occurs with the characteristic soundtrack of the lm which clearly recalls that of the
classic video game), both of which have received scant attention in the scientic literature.
6. Acknowledgements
is article has been translated into English to omas MacFarlane whom we are grateful for her work and the translation has
been nanced by the Department of Audiovisual Communication and Advertising of the University of Seville.
7. Specic contributions of each author
Name and Surname
Conception and design of the work
María Nieves Corral Rey
Methodolody
María Nieves Corral Rey and Álvaro Linares Barrones
Data collection and analysisMaría Nieves Corral Rey and Álvaro Linares Barrones
Discussion and conclusionsMaría Nieves Corral Rey
Drafting, formatting, version review and approvalMaría Nieves Corral Rey and Álvaro Linares Barrones
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8. Conict of interest
e authors declare that there is no conict of interest contained in this article.
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