When most people think of the video game Super Mario, they probably do not think about how similar the game’s plot is to a classic story tale. The game’s plot revolves around Mario, the protagonist, on a quest to save a kidnapped Princess Toadstool from the villain, Bowser. Russian theorist and scholar, Vladimir Propp, established 31 narratemes (story units) by examining similar structures, patterns and storylines in Russian folklore, he then established a pattern of these functions as a series of events that take place in the tales. A combination of functions can be identified in Super Mario. We can easily identify the typical damsel in distress in need of her hero in Super Mario, but we often ignore the many other themes and archetypes of Propp’s narratemes present in the game. Propp also proposed that all characters in narratives follow an extensive personality function, Super Mario also exhibits a variety of these character models. Super Mario is an unlikely contemporary tale with character archetypes and mythological motifs that pursues many of these functions. Super Mario tells the story of an antagonist, Bowser, who tries to overtake the glorious Mushroom Kingdom. The second function “interdiction is violated” (Propp, 1968, p.) appears when Bowser disturbs the kingdom by casting a spell, threatening the lives of the citizens and turning them into objects such as bricks. A prophecy reveals that only Princess Toadstool can lift the spell, and with that knowledge Bowser kidnaps the Princess, which directly displays the eighth function, villainy. The villainy “abduction” (Propp, 1968, p. 30) is exhibited through harming the Princess, who will ultimately save the kingdom, but later on in the story, becomes the protagonist’s objective. King Toadstool informs Mario of the kidnapping, presenting the ninth function – mediation “hero is called for help” (Propp, 1968, p. 36) and Mario agrees to try and find the Princess. Upon Mario’s agreement, the tenth function is posed, counter-action “resolve the lackrescuing those who are captured” (Propp, 1968, p. 38), where the protagonist agre