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Why no Super Mario Iliad or Aeneid though?
These are in fact the basis for the two Mario Galaxy games. It's not well known that every Mario game has its roots in mythology. While Mario 3 is well known to be based on several works of Greek Theater, and Mario 2 is clearly inspired by The Arabian Nights, the original Super Mario Bros. is the least known to have been based on, quite exactly, Dante's "Inferno." The nine circles of hell in Dante's work are the inspiration for each set of 4 side scrolling levels, with each of Bowser's castles being collectively inspired by the ninth circle and transition into purgatory. The first circle of Dante's hell is "Limbo" where he meets each of the virtuous but unbaptized poets who inspire him along his way. All of them Roman "friends," or in Italian, "cumpà," the origin of the English slang "Goomba." Each of them becomes a literal stepping stone toward his goal of finding his Princess Beatrice, flattening for him to walk through the stone abyss. In the second layer of hell, Dante encounters the punishment for lust, in which a "whirlwind of lovers" manifests the sinful as fish attempting to swim aimlessly through a windy sky. Dante continues ever downward. Gluttony in the third circle of hell is punished in eternal darkness, where bulbous white trees thrive, containing the damned within them, eating them as they feasted in life. The fourth circle, Greed, is full of gold coins atop unreachable mushroom growths. Only a vine from Minos allows Virgil and Dante to climb away. Deeper still flows Styx, the river of the wrathful. It holds ferocious sea beasts and damned alike who attempt to swamp Dante as he travels ever onward toward the city of Dis, where heretics dwell. Dis, a tower made of squares and bottomless pits reveals The Beast Geryon, depicted as riding within a cloud, tormenting heretics with spines and impaling them on flagpoles bearing the names of their fraudulent beliefs. The seventh circle is a wasteland for the violent where canons fire forever. Those who committed violent acts are shot, devoured by flying turtle beasts, or turned into trees like the gluttonous before them. Hell's worst common sinners lay in ten walled ditches called "Bolgia." The ten great walls in Mario's penultimate level are a direct reference, as are the Brotherhood of the Hammer who built the walls referenced by the "Hammer Brothers." These hold gamblers, liars, and lazy authors who write excessively long jokes instead of working on the story they were commissioned to write. At the end of each layer, Virgil explains to Dante that Beatrice is in another place. Urging him to keep going even beyond where he and other righteous dead may wander. All the way toward the final central circle, the castle of Hell itself. Finally in the circle of traitors, Dante meets the devil on a bridge over troubled lava where he breathes flame from under his spiked shell upon the three worst traitors in history, Judas who betrayed Christ, Brutus who betrayed Caesar on an unknown date, and the "Traitor to Come," who is said to be a grotesque orange antichrist who will "sell out his nation" for a "Faulty carriage that travels on the power of lightning." Finally, Dante finds Beatrice, his princess, who takes him to purgatory beyond the core of the Earth, where he ascends to heaven after touching the emblem of her name, the letter "B." He begins his new quest in Dante's "Purgatorio," which holds the Donut Plains, Chocolate Islands, Vanilla Domes, and Butter Bridges of what would be adapted into Super Mario World for the SNES.
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My Tears’ review of Philip Terry’s Dante’s Purgatorio and my own Dante project revived – plus thoughts on reviewing
I have just published a review of Philip Terry’s Dante’s Purgatorio in the 81st edition of Tears in the Fence. I have published poems quite regularly in the magazine for a long time now, but I think this is the first time I have written a review for them. The review section is very good and it’s a nice place to appear. Despite having published a new book of (kind of) critical pieces in the last six months (The Necessity of Poetics) I have not written many reviews for a long time. (Pages: The Necessity of Poetics - out now! ) Partly, this is the result of having moved from an early policy of book reviewing for magazines small and large (including New Statesman, TLS, PN Review) to writing academic literary criticism, which resulted in several books (not so much The Necessity of Poetics which largely collected disparate materials) but like The Poetry of Saying and The Meaning of Form. (Believe it or not I’ve only recently noticed that ‘The X of Y’ structure of these book titles! ‘I thought it was deliberate,’ Patricia opined. It wasn’t.) Somehow, the thrill of writing reviews wore off. Perhaps I could do it in my sleep. Perhaps I regret not being paid (the New Statesman stuff was vital to our survival, I seem to remember, even though I had a full time job in FE). But I’ve seldom returned to it. Of course, my disenchantment with academic publishing is pretty high, too. A system where you’re lucky if you receive a pdf of your book title instead of the whole book, or where you have to buy a copy yourself is difficult to explain to friends in the pub. One said, ‘You need a better agent.’ (I didn’t like to tell him.) I don’t mind paying a bus fare but I don’t expect to have to build the bus first before I travel! Another reason why I think I should review new poetry books (in particular) is that there is a shortage of reviewers out there (as I have discovered with my own latest, British Standards; I am thankful for Billy Mills’ tracing of its trajectory here: Two by Robert Sheppard: A Review – Elliptical Movements). And I feel I need to do my bit. Now I have, with my account of Philip Terry’s Dante’s Purgatorio which you will not be too surprised to hear is his follow-up to his masterful Dante’s Inferno! In short (and without repeating the review) it’s great fun and serious at the same time, an Oulipo wonder, using the constraint ‘Up to Date’, which he operates in a much more systematic way than I did in my ‘English Strain’ project; I have collaborated with Philip and have observed him at work. See here (Pages: Twitters for a Lark launch at Bangor University 6th April 2018 (set list)) and here (Pages: 'My' Quennets from A TRANSLATED MAN published in The Penguin Book of Oulipo) for our meetings, over the remains of my ‘fictional poets’ project (something close to Philip’s own heart!). Details of Tears in the Fence 81 here: Tears in the Fence 81 is out! | Tears in the Fence Anybody reading this blog carefully (is there such a being out there?) will perhaps notice that I was advancing my own ‘Dante’ project, which I rather flagrantly ‘abandoned’ in this post here: Pages: On abandoning my transposition of Dante: thoughts and extracts. For the moment, the old text shall remain there but I might remove it, since I have (as I thought I would, and said so, on the post itself) found a way to ‘treat’ the text, submitting it to a ‘coherent deformation’, daily working through the 80 pp of notes with a method, not (it should be recorded) an Oulipo method. In fact, today yielded, probably roughly, and in need of further work, these lines: Lower down the proscribed Covid stairwell, very finely done, ‘Oh, you know, the plague!’ says Blake. ‘Let’s watch “this metamorphosis of a malefactor.” Everything’s one day about this man. You’ll write other dimensions, you already have.’ The riding figure disintegrates before any masks. The Poet muffles his nose in human decomp, arriving like an olfactory fester. He acts to bloat and gloop the great naked blasphemer, knocking, who blasts flames, sequenced backwards like this story, which is, admittedly, unambiguous and coiled with serpents. Blake is my Virgil, and Dante is ‘The Poet’. Blake was my Virgil, since I used his very lopsided coverage of the Commedia, for the object of the original ‘writing through’, which I have now returned to, partly because I’ve forgotten the ‘abandoned’ text (and have not looked back at it); I have, however, kept its title, Stars: a Comedy Machine, and one of its epigraphs is Thus the cause Is not corrupted nature in yourselves, But bad government that has turned the world To evil. Purgatorio XVI which I mention in my review of Philip’s work, plus his own version of these lines. I say, ‘In a version of lines in Dante from Canto XVI that I think of as central to the Commedia, Terry has: What I’m saying is that the Present state of the world is caused predominantly By one thing and one thing alone: bad leadership.’ Interestingly, he keeps this in focus as a major theme. Talking of epigraphs, mine, to the third, HELL, part of my ‘commedia’ (it’s narrated in reverse, ‘sequenced backwards like this story’ as I ‘wrote’ this morning) is taken from Terry’s Inferno: Capital divides and rules its kingdom Like a greedy spoilt dictator, though I might choose another from his Inferno. My own version is thus much taken with Terry’s. In fact I might have abandoned my version much sooner, since the very existence of his version threw mine into doubt. But Philip encouraged me to continue: as an Oulipean there can never be enough versions of the text for him (so long as he doesn’t have to write them all, I suspect!). I agreed to review the book in order to deal with it (and I knew it would be as funny as I found the first volume, though more poignant). I’m glad I did. It’s been useful for seeing what he’s up to, what I’m up to, and it might very well propel me to write further reviews for whoever wants them. It gets the news out there. There is always this blog, too, for further thoughts. * Previous appearances in Tears in the Fence are recorded here, the first 2 links carrying details of poems printed from the aforesaidmentioned ‘English Strain’ project, with videos of me reading some of these poems. Thanks again to editor David Caddy for taking these works and the new review! Pages: Two new poems from British Standards published in Tears in the Fence 73 Pages: Two more sonnets from British Standards (from Keats) in Tears in the Fence 75 Pages: Robert Sheppard: 'Between' a poem for Roy Fisher published in Tears in the Fence
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