Is Nintendo Finally Breaking Free from the Damsel Trope?

both an innovative and bold move. When Rosalina appeared in a burst of celestial light early in the game, she guided Mario onto a spaceship to meet the Lumas, whimsical creatures that transform into stars and planets. As players progressed, they learned that Rosalina had become the adoptive mother of the Lumas after losing her own mother in childhood, endowing her with extraordinary powers. Even within a fantastical universe filled with talking mushrooms and villainous turtles, she emerged as a distinct princess. "In video games, maternal figures are often overlooked or meet tragic fates," noted Sarah Stang, a feminist media scholar from Brock University. "Rosalina possesses a deeply maternal narrative, even amidst a series primarily focused on brotherhood." The Mario universe features only four significant female characters, each of whom has evolved as Nintendo has infused greater depth into its roster. The first lady in the series, Mario was originally named Jumpman in 1981, primarily recognized for his jumping abilities to navigate obstacles. His girlfriend was simply referred to as Lady, who was abducted by Donkey Kong, marking the inception of the damsel trope in gaming. This character was later renamed Pauline in 1982, as featured in new arcade releases and the 1986 Nintendo Entertainment System edition. The game manual indicated, "Assist Mario in scaling the construction site to rescue his girlfriend, Pauline," and players could earn points by collecting items she dropped, like her parasol and purse. In 2017, Nintendo revitalized Pauline, shedding her damsel persona and presenting her as the singing mayor of New Donk City, a creative homage to Manhattan, which became a highlight of Super Mario Odyssey on the Nintendo Switch. Her redesign was significant; she traded the flowing gowns typical of princess characters for a red pantsuit suited for city affairs, donning a glamorous dress for performances. A youthful version of Pauline also appeared in the recent Donkey Kong Bananza, now as an ally to the great gorilla rather than a captive. The Super Mario Bros. games of the 1980s and '90s continued to utilize female abduction as a narrative device, overshadowing Pauline in favor of Princess Toadstool, or Peach. She was the only character capable of lifting a curse plaguing the Mushroom Kingdom, leading to a bait-and-switch scenario where players would often find out that "our princess is in another castle" from her frantic mushroom subjects. Nevertheless, Princess Peach had moments to shine, especially in party games like Super Mario Kart, where she was the sole playable female. Her first solo venture occurred in 2005 when she flipped the narrative, rescuing a kidnapped Mario using abilities influenced by her emotional state. However, it wasn't until 2024 that she embarked on another significant quest, aiming to save creatures from an evil sorceress in Princess Peach: Showtime! Four years after Peach's debut in 1985, a second princess named Daisy was introduced in the 1989 Game Boy edition of Super Mario Land. Initially depicted as a mere placeholder for Peach, Daisy appeared as a simplistic character with limited features. Her role diminished further when she was featured in a golf game the following year, relegated to caddy status alongside Luigi and looking almost identical to Peach on the title screen. Over time, Daisy evolved into a prominent supporting character in titles such as Mario Party and Mario Tennis. Her established look became that of a tanned, brunette princess in an orange dress, showcasing a more tomboyish and competitive demeanor, particularly in soccer games like Mario Strikers Charged, contrasting her with Peach's more delicate portrayal. Daisy, often a sidekick rather than a lead, finally became playable in the main series in 2023 with her appearance in Super Mario Wonder on the Nintendo Switch. Game director Shiro Mouri disclosed that Daisy's inclusion was a resolution to his daughters' disputes over who would play as Peach. Until "The Super Mario Galaxy Movie," Rosalina was the only female character in the franchise who had not been captured. "She was never a damsel," Stang remarked prior to the film's debut, expressing skepticism that the movie would revert to outdated tropes. Initial designs for Rosalina, however, hinted at a more conventional narrative. Early concept art depicted the princess with a traditional bouffant hairstyle and flowing gown reminiscent of Disney's Cinderella. As revisions progressed, her striking platinum blonde hair evolved into a defining characteristic rich with personality. "Her long bangs symbolize her outward strength and inner sorrow and loneliness," noted one design document from Nintendo developers, who initially envisioned Rosalina as a relative of Peach. The poignant backstory that characterized Rosalina was penned overnight by Super Mario Galaxy director Yoshiaki Koizumi, who advocated for deeper narratives in gaming—something that series creator Shigeru Miyamoto had previously questioned, believing Mario games didn't require extensive plots. "For a long time, it felt as if storytelling in a Mario game was off-limits," Koizumi stated in a 2007 interview. "But I felt that the Lumas and Rosalina needed a narrative to clarify their purpose and enrich players' understanding of their role." Yet, many fans have sought further exploration of her backstory. In September, prior to the movie's title reveal, Nintendo announced an enhanced version of Super Mario Galaxy, featuring two additional chapters of Rosalina's storybook, with plans to sell physical copies for nearly $25. Despite not being involved in the sequel, Rosalina's original voice actress, Mercedes Rose, reported an increase in fan messages describing the character as both nurturing and powerful. She recalled being directed by Nintendo staff that Rosalina embodies the essence of the universe's mother. "Her voice is calming, exuding a sense of otherworldliness while remaining deeply relatable," she explained, noting that recording took just one day. "I essentially used my own motherly voice. I have three children, so I channeled that experience."