In class we discussed that Super Mario Bros (1985) and Donkey Kong (1981) allusions in Braid (2008) may be parody, pastiche, or media archaeology. After class, I found myself thinking back to the role Mario plays in Braid. Instead of looking at broader functions of intertextuality in Braid, I wanted to think more about the role of Mario in the game’s narrative story.
Braid levels reminiscent of iconic Mario levels certainly bring a sense of nostalgia to the player - but what if they’re also nostalgic for Tim? Tim’s visual appearance of a tie, blazer, and slacks mark him as a contemporary figure. Combined with the suggestion that Tim was an adult during the discovery of the atomic bomb in the 1940s, it is plausible that he would have nostalgia for Mario and DK as games that were released in his lifetime.
Tim’s contemporary dress and house also exist in stark contrast to the impressionistic art and scenery present within each of the worlds. The game establishes that the worlds exist outside of these “normal” realities, making the worlds function similarly to dreams, memories, or wishes. The argument that the worlds represent dreams is further supported by the comparatively fantastical elements of the worlds, from talking dinosaurs to clouds that support human weight. Under the assumption that the worlds are fake and constructed within Tim’s mind, the Mario and DK elements would be present through Tim’s own intention. What if Tim - who is familiar with the classic Nintendo games - incorporated elements of them into his own dreams and wishes (i.e. the worlds)?
It is a popular interpretation of Braid to view Tim as a monster chasing after a princess, despite being initially framed as a hero. I find it plausible to argue that Tim inserts Nintendo allusions into his dream worlds in an attempt to remember himself as being the hero in his own story. He is familiar with the style and layout of Mario, a character notable for saving a Princess, and fashions himself after Mario. Jonathan Blow's choice to put Tim in Mario's position not only subliminally primes the player to view him as a hero, but also narratively implies that Tim is trying to view himself as a hero in the style of a game he's familiar with.
I recognize that this interpretation might be a stretch - but I think it's an interesting way to think about the layers present in Braid. Super Mario Bros is embedded in our culture - Jonathan Blow might be playing with this fact by suggesting that it's also embedded in Tim's memories and experiences. The presence of classic Nintendo games in Braid may be a deliberative narrative choice, in addition to being a nod to game history.
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