Chris Suellentrop Glixel Also: New York Times, Contributor Previously: Kotaku Super Mario Run's Not-So-Super Gender Politics By CHRIS SUELLENTROP DEC. 22, 2016 Unfortunately, despite Nintendo's history and reputation, Super Mario Run is not a family-friendly game - or at least not one my wife and I will be letting our 6-year-old daughter play. The game is rife with stale, retrograde gender stereotypes - elements that were perhaps expected in 1985, when the first Super Mario Bros. was released in the United States, but that today are just embarrassing. Super Mario Run begins, as does almost every Super Mario title, with Princess Peach becoming a hostage who must be rescued by Mario. Just before her ritual kidnapping, Peach invites Mario to her castle and pledges to bake him a cake. Upon her rescue, she kisses Mario. The game also includes a second female character, Toadette, whose job is to wave a flag before and after a race, like a character from "Grease By failing to update Super Mario for a contemporary audience, Nintendo is lagging far behind the Walt Disney Co., one of its closest American analogues. Disney's film "Frozen” subverted and reinvigorated the fairy-tale princess movie; "The Force Awakens" gave us a female Jedi. Super Mario Run doesn't even trv In isolation, there's nothing wrong with princesses or baking. My daughters love those things, too. But Super Mario Run relegates its female characters to positions of near helplessness. Peach and Toadette become playable only after you complete certain tasks, which makes the women in the game feel like prizes. (To be fair, the same is true of a few male characters.) Worse should you then use Peach to defeat her kidnappei that neither Mario nor a kiss is waiting for her as a reward. r, Bowser, you'll discover The world would be a worse place if video game creators were judged only by whether they balanced their games with male and female protagonists. Some of 2016's best video games, including the interactive drama Firewatch and the disturbing Mario-inspired Inside, are largely about men and boys. Still, lots of girls and women play video games. There are more women over 30 who play video games than boys under 18 who play, according to the industry's lobbying arm, the Entertainment Software Association. A Pew Research Center survey published last year found that almost 60 percent of girls between the ages of 13 and 17 are gamers. Seeing people like yourself depicted as heroic on TV and in movies and video games can have a powerful effect on viewers and players. The actor and comedian Kumail Nanjiani, who was born in Pakistan, tweeted after watching "Rogue One," the new "Star Wars" movie, that he "started tearing up" after a scene in which "people who looked like me and dressed like my ple we Representation in interactive media may be even more important than it is in linear entertainment. In video games, players describe ourselves as the digital avatars we control on a screen. We say "I died," not "he died. This sense of identification gives video games an enormous capacity to create empathy for other people. There are video games in which you play as as replacement therapy, as the son of an alcoholic. But it also presents more conventional game designers with an opportunity to create games in which young girls, and not just young boys, actually become heroes themselves.

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Chris Suellentrop Glixel Also: New York Times, Contributor Previously: Kotaku Super Mario Run's Not-So-Super Gender Politics By CHRIS SUELLENTROP DEC. 22, 2016 Unfortunately, despite Nintendo's history and reputation, Super Mario Run is not a family-friendly game - or at least not one my wife and I will be letting our 6-year-old daughter play. The game is rife with stale, retrograde gender stereotypes - elements that were perhaps expected in 1985, when the first Super Mario Bros. was released in the United States, but that today are just embarrassing. Super Mario Run begins, as does almost every Super Mario title, with Princess Peach becoming a hostage who must be rescued by Mario. Just before her ritual kidnapping, Peach invites Mario to her castle and pledges to bake him a cake. Upon her rescue, she kisses Mario. The game also includes a second female character, Toadette, whose job is to wave a flag before and after a race, like a character from "Grease By failing to update Super Mario for a contemporary audience, Nintendo is lagging far behind the Walt Disney Co., one of its closest American analogues. Disney's film "Frozen” subverted and reinvigorated the fairy-tale princess movie; "The Force Awakens" gave us a female Jedi. Super Mario Run doesn't even trv In isolation, there's nothing wrong with princesses or baking. My daughters love those things, too. But Super Mario Run relegates its female characters to positions of near helplessness. Peach and Toadette become playable only after you complete certain tasks, which makes the women in the game feel like prizes. (To be fair, the same is true of a few male characters.) Worse should you then use Peach to defeat her kidnappei that neither Mario nor a kiss is waiting for her as a reward. r, Bowser, you'll discover The world would be a worse place if video game creators were judged only by whether they balanced their games with male and female protagonists. Some of 2016's best video games, including the interactive drama Firewatch and the disturbing Mario-inspired Inside, are largely about men and boys. Still, lots of girls and women play video games. There are more women over 30 who play video games than boys under 18 who play, according to the industry's lobbying arm, the Entertainment Software Association. A Pew Research Center survey published last year found that almost 60 percent of girls between the ages of 13 and 17 are gamers. Seeing people like yourself depicted as heroic on TV and in movies and video games can have a powerful effect on viewers and players. The actor and comedian Kumail Nanjiani, who was born in Pakistan, tweeted after watching "Rogue One," the new "Star Wars" movie, that he "started tearing up" after a scene in which "people who looked like me and dressed like my ple we Representation in interactive media may be even more important than it is in linear entertainment. In video games, players describe ourselves as the digital avatars we control on a screen. We say "I died," not "he died. This sense of identification gives video games an enormous capacity to create empathy for other people. There are video games in which you play as as replacement therapy, as the son of an alcoholic. But it also presents more conventional game designers with an opportunity to create games in which young girls, and not just young boys, actually become heroes themselves.

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