How To Draw A Mario Mustache? 97 Most Correct Answers

Pictured above is perhaps the most iconic video game character ever created. It’s Mario, of course, from Mario Bros. fame. The image above is the artwork of New Super Mario Bros. U Deluxe (via Wikipedia), but it does the job. There’s Mario – the hat, mustache, and blue-on-red jumpsuit video game hero we’ve all come to know and love.

But how did Mario get his outfit? Why does he have a hat? Or overalls? Or is that Stache? The short answer: Because it made it easier to create.

Mario made his debut in the 1981 video game hit Donkey Kong. He’s the hero hoping to save a damsel in distress from a mad giant ape who enjoys throwing barrels down the sloping platforms Mario needs to climb up. This is what a game level looked like; You can see early Mario about a third of the way up from the bottom towards the center, having just scored the player a hundred points.

The Donkey Kong game doesn’t have great graphical capabilities by today’s standards – designers only had a handful of pixels to work with. As a result, everything, including Mario, had to be created within fairly tight design constraints. Let’s take a closer look at the Donkey Kong Mario below.

Instead of focusing on what’s there—the hat, the mustache, and the jumpsuit—take a look at what’s not there. Mario has neither mouth nor hair.

According to Shigeru Miyamoto, that’s by design and he should know – he’s the genius who created Mario. In 2007, he sat down with CNN to explain the method behind the mustache:

We had to draw Mario as a small character and make him look human at the same time. To do this, we had to draw a characteristic feature for him, e.g. B. a big nose. We gave him a mustache so we didn’t have to draw a mouth. It is difficult to show facial expressions with small characters.

And then, in 2010, he spoke to USA Today and explained why Mario had a hat. The reasoning was familiar to anyone who had read this CNN article:

The technology of the time really dictated how we did character design. If I gave Mario a lot of hair, you have to animate it or it won’t look right. By giving him a hat, we didn’t have to worry about that. We didn’t have to draw his eyebrows, his forehead, or anything else either. It was just a really useful tool to help us highlight what we were trying to do on that small screen.

Mario’s clothing served a similar function. According to IGN, “overalls made the arms more visible,” allowing Miyamoto and the team to easily show a running motion, especially given the lack of available pixels. Even the choice of color was important; Again, per IGN, “bright colors popped against dark backgrounds,” and most likely the natural contrast of blue and red against each other helped make the character stand out even more.

As Mario evolved over the years, it made sense to retain these signature traits for branding purposes, even though technology has advanced to the point where he could wear basically anything he wanted, and even shave when he did this wished. But overall it’s stayed about the same. The biggest change? His red-on-blue jumpsuit/shirt combo has turned blue-on-red.

Bonus Fact: How long will Super Mario Bros. run? From a time perspective, you can complete the entire game in less than five minutes (here’s a video if you need proof). But from afar – at least if you’re Mario – it’s a lot of running and swimming. According to Mental Floss, “If we assume Mario takes a route with no bonus areas or warps, the total distance from his initial starting point to the final castle is about 17,835 feet or 3.4 miles [or about 5.5 km].” ( Feel free to check out this Mental Floss article to see the math they used to do this.

The chevron mustache is making a bold comeback. It’s certainly a style statement as it’s wider and more defined than any other style of mustache, but it’s a great way to show some of your personality on your face.

A chevron mustache is a major commitment – ​​it needs to be trimmed and styled carefully and regularly and will define your entire look. If you change your mind, you can easily turn it into a classic original mustache, so you have nothing to lose by trying it out.

A chevron mustache works particularly well on an oval face shape – if your face is more square it could make your face look very wide, so keep that in mind.

What is a chevron mustache?

A chevron mustache is a mustache that is shaped to angle down towards the corners of the mouth. It’s subtler than a horseshoe mustache and shorter than a walrus style, but the general direction of growth is the same.

Across the rest of your upper lip, a chevron mustache should be full and thick, but trimmed so its bottom edge ends just above your upper lip.

The Gillette all-purpose styler and beard trimmer (which doubles as a mustache trimmer) will be your new best friend when growing a chevron mustache, as you can use it to trim, shave, and edge your facial hair.

Facial hair grown above the upper lip

This article is about the type of facial hair. For other uses, see Mustache (disambiguation)

Panayot Hitov, Bulgarian revolutionary A mustachioed horseman on a c. 300 BC Artwork

A mustache (American English: Mustache, )[1] is a strip of facial hair that grows above the upper lip. Mustaches have been worn in a variety of styles throughout history.[2]

Etymology[ edit ]

The word “mustache” is French and derives from Italian mustaccio (14th century), dialectal mostaccio (16th century), Medieval Latin mustacchium (eighth century), Medieval Greek μουστάκιον (moustakion), ninth-century is ultimately a diminutive of Hellenistic Greek μύσταξ (mustax, mustak-), meaning “upper lip” or “facial hair”,[3] probably derived from Hellenistic Greek μύλλον (mullon), “lip”.[4][5]

A person who sports a mustache is referred to as “moustache” or “moustache” (the latter often referring to a particularly large or bushy mustache).

history [edit]

Research on the subject has found that the prevalence of mustaches and facial hair in general rises and falls as the marriage market saturates.[6] Therefore, the density and thickness of the mustache or beard can help mediate androgen levels or age.[7]

Stone sculpture of a Gaul wearing a torc, with a curled mustache and eyebrows, c. 400 AD

The earliest record of the use of mustaches (without a beard) can be traced back to the Iron Age Celts. According to Diodorus Siculus, a Greek historian:[8]

The Gauls are tall, with wavy muscles, and white skin, and their hair is blond, and not only naturally, for they make it a habit to enhance by artificial means the characteristic color which nature has given them . For they always wash their hair in lime water and draw it back from the forehead to the nape of the neck, making their appearance similar to that of Satyrs and Pans, since the treatment of their hair makes it so heavy and coarse that it differs in no respect from the mane of the horses. Some shave their beards, others let them grow a little; and the nobles shave their cheeks, but they grow the mustache till it covers the mouth.

Mustaches would not go away in the Middle Ages. A prominent example of the mustache in early medieval art is the Sutton Hoo helmet, an elaborately decorated helmet with a faceplate depicting the style on his upper lip. Later, Welsh leaders and English kings like Edward of Wales often wore only a moustache.[9]

The mustache’s popularity in the West peaked in the 1880s and 1890s, coinciding with a popularity of the military virtues of the day.

Different cultures have developed different associations with mustaches. For example, in many 20th-century Arab countries, mustaches are associated with power, beards with Islamic traditionalism, and clean-shaven or no facial hair with more liberal, secular tendencies.[10] In Islam, trimming the mustache is considered Sunnah and mustahabb, a way of life especially recommended among Sunni Muslims. The mustache is also a religious symbol for the male followers of the Yarsan religion.[11]

Shaving with stone razors was already technically possible in the Neolithic Age. A mustache is depicted on a statue of the Egyptian prince Rahotep from the 4th Dynasty (c. 2550 BC). Another ancient portrait showing a shaved man with a mustache is an ancient Iranian (Scythian) horseman from 300 BC.

In ancient China, facial and head hair were traditionally left untouched due to Confucian influences.[12]

Development and maintenance[edit]

A 1904 mustache spoon used in Edwardian England to protect the mustache when eating soup.

The mustache represents a distinct stage in the development of facial hair in adolescent males.[13]

As with most human biological processes, this specific ordering may vary in some individuals depending on their genetic heritage or environment.[14][15]

Mustaches can be groomed by shaving the hair on the chin and cheeks, which will prevent it from growing into a full beard. A variety of tools have been developed for mustache grooming, including safety razors, mustache wax, mustache nets, mustache brushes, mustache combs, and mustache scissors.

There is a growing trend in the Middle East for mustache transplantation, which involves performing a procedure called follicular unit extraction to obtain fuller and more impressive facial hair.[16]

The longest mustache measures 4.29 meters (14.1 ft) and belongs to Ram Singh Chauhan of India. It was measured on the set of the Italian TV show Lo Show dei Record on March 4, 2010 in Rome, Italy.[17]

Styles [ edit ]

Time-lapse animation of a mustache grown in 30 days.

The 2007 World Beard and Mustache Championships had six mustache subcategories:[18]

Dalí – narrow, long peaks curved or steeply curved upwards; Areas behind the corners of the mouth must be shaved. Artificial styling aids needed. Named after Salvador Dalí.

English mustache – narrow, beginning in the middle of the upper lip, the whiskers are very long and pulled to one side, slightly curled; the ends are directed slightly upwards; Areas behind the corners of the mouth are usually shaved. Artificial styling may be required.

Freestyle – All mustaches that do not match other classes. The hair may grow up to a maximum of 1.5 cm beyond the end of the upper lip. Aids are allowed.

Hungarian – Large and bushy, starting in the middle of the upper lip and sweeping to one side. The hair may grow up to a maximum of 1.5 cm beyond the end of the upper lip.

Imperial – Whiskers growing from both upper lip and cheeks and curled up (distinct from Royale or Impériale)

, or ) Natural – mustache can be styled without tools.

Other types of mustache are:

Occurrences and perceptions[ edit ]

Like many other fashion trends, the mustache is subject to changing popularity over time. Although modern culture often associates mustaches with Victorian-era men, Susan Walton shows that by the early part of the Victorian era, facial hair was “regarded with distaste” and that the mustache was considered a sign of an artist or revolutionary, both of which remained relevant at the time edge.[19] This is supported by the fact that only one MP from the years 1841-1847 wore facial hair.[19] By the 1860s, however, this had changed and mustaches were becoming very popular, even among respectable men, but by the end of the century facial hair was once again a thing of the past.[19] While one cannot be entirely sure of the cause of such changes, Walton speculates that the rise in facial hair trend is largely due to the upcoming war against Russia and the belief that mustaches and beards project a more “masculine” image, fueled by the so-called “Rebranding” of the British military and the rehabilitation of military virtues.[19] Mustaches became a defining feature of the British soldier, and until 1916 no common soldier was allowed to shave his upper lip.[20] However, the next generation of men viewed facial hair such as mustaches as an outdated emblem of masculinity and hence there was a dramatic decline in the mustache trend and a clean-shaven face became the hallmark of a modern man.[19]

Marriage [ edit ]

According to a study conducted by Nigel Barber, the results have shown a strong correlation between a good marriage market for women and an increased number of mustaches worn by the male population.[21] Comparing the number of men pictured in the Illustrated London News sporting a mustache versus the ratio of single women to single men, the similar trends in the two over the years would suggest that these two factors are correlated. [21] Barber suggests that this correlation may be due to the fact that men with mustaches are perceived by both men and women as more attractive, hardworking, creative, masculine, dominant, and mature,[21] which is supported by that of Hellström and Tekle [22] Barber suggests that these perceived traits would influence a woman’s choice of husband as they would indicate likely high reproductive success and other good biological characteristics, as well as the ability to invest in children. Thus, when men must compete fiercely for marriage, they are more likely to grow a mustache in an attempt to project those qualities.[21] This theory is also supported by the correlation between beard fashion and women wearing long dresses, as shown in Robinson’s study,[23] which then relates to the correlation between dress fashion and the marriage market, as shown in Barber’s 1999 study .[24]

Age perception[edit]

Mustache and other forms of facial hair are recognized worldwide as a sign of the post-adolescent male;[25] however, those with mustaches are perceived as older than their clean-shaven peers.[25] This was determined by manipulating a photograph of six male subjects with varying degrees of baldness to have mustaches and beards, and then asking college students to rate both the photographs of the men with facial hair and those without facial hair in relation to social maturity to rate. Aggression, age, appeasement and attractiveness. Regardless of how bald the test subject was, the results found regarding the perception of mustaches remained constant. Although men with facial hair were generally perceived as older than the same person pictured without facial hair,[26] those with mustaches were also perceived as being much less socially mature.[25] The decreased perceptions of the mustache men’s social maturity may be due in part to the increase in mustache men’s perceptions of aggression,[25] since aggression is incompatible with social maturity.[25]

workplace [edit]

A study by J.A. Reed and EM Blunk showed that executives perceive men with facial hair positively and are therefore more likely to hire them.[27] Although men with beards performed better overall than men with only mustaches, men with mustaches performed much better than men who were clean-shaven.[27] In this experiment, 228 male and female people who held managerial positions and made hiring decisions were shown ink sketches of six male applicants. The men in these ink sketches ranged from clean-shaven to mustaches to bearded men. Men with facial hair were rated higher by employers on aspects such as masculinity, maturity, physical attractiveness, dominance, confidence, nonconformity, courage, diligence, enthusiasm, intelligence, sincerity, and overall competence.[27] The results were quite similar for both female and male employers, which according to Reed and Blunk would mean that gender does not play a role in a male applicant’s perception of a mustache.[27] However, Blunk and Reed also state that the importance and acceptance of facial hair changes over time. However, the studies of Hellström and Tekle[22] and also the studies of Klapprott[28] suggest that mustaches are not favorable for all occupations, as clean-shaven men have been shown to be seen as more reliable in occupations such as salespeople and professors. Other studies have shown that acceptance of facial hair can vary by culture and location, as in a study conducted in Brazil, clean-shaven men were preferred by hiring managers over applicants with a beard, goatee, or moustache.[29]

cultures [edit]

In Western culture, women have been shown to dislike men with a visible mustache or beard, but prefer men with a visible base of beard such as stubble (often known as the five o’clock shadow) to those who are clean-shaven.[30] This supports the idea that women in western culture prefer men who have the ability to cultivate facial hair like a mustache but choose not to. However, some researchers have suggested that it is possible that in ecologies where physical aggressiveness is more adaptive than cooperation, bearded males might be preferred over females.[25] Differing opinions on mustaches are not reserved for international cultural differences, however, as discrepancies in female preference for male facial hair have been observed even within the US, as Freedman’s study suggested that women studying at the University of Chicago preferred men with facial hair because they perceived them as more masculine, sophisticated, and mature than clean-shaven men.[31] Similarly, a study conducted by Kenny and Fletcher at Memphis State University indicated that males with facial hair such as mustaches and beards were perceived by female students as stronger and more masculine.[32] However, the study conducted by Feinman and Gill suggests that this response to facial hair does not occur nationally, as women studying in the state of Wyoming showed a clear preference for clean-shaven men over men with facial hair.[33] Some attribute this difference to the difference in region, rurality, and political and social conservatism between the different studies.[33] So it can be seen that even within the US there are slight differences in the perception of mustaches.

religions [edit]

Besides different cultures, the perception of the mustache is also changed by religion, as some religions support the growth of a mustache or facial hair in general, while others tend to oppose mustache-wearing, while many churches are somewhat ambivalent about the issue.

Amish [ edit ]

While Amish men grow beards after marriage and never trim them, they do without mustaches and continue to shave their upper lips. This is rooted in a rejection of the German military fashion of sporting mustaches that was prevalent at the time of the founding of the Amish community in Switzerland; and thus serves as a symbol of their commitment to pacifism.[34]

Mormon[ edit ]

Although The Church of Jesus Christ of Latter-day Saints never specifically states that all male members must be clean-shaven, it is often considered “taboo” in Mormon circles for men to have a mustache, since the Church’s missionaries are required to be clean-shaven and Brigham Young University’s code of honor, which requires students to maintain similar standards of care. This has become something of a social norm within the Church itself.[35] This often leads to members who choose to wear a mustache feeling that they don’t quite conform to the norm, and yet in the studies by Nielsen and White these men reportedly didn’t mind that feeling and therefore keep growing your facial hair.[35]

Islam [edit]

Although facial care is not specifically mentioned in the Qur’an, numerous hadith traditions (statements of Muhammad) speak about personal hygiene, including the care of facial hair.[36] In one such example, Muhammad advised men to grow beards and to cut off the longer hair of mustaches so that they do not cover the upper lips (since this is the Fitra, the tradition of the Prophets).[37] It is therefore a well-established tradition in many Muslim societies to grow a beard while the mustache does not cover the upper lip.[36]

Notable mustaches[ edit ]

Individuals[ edit ]

The longest mustache measures 4.29 meters (14.1 ft) and belongs to Ram Singh Chauhan of India. It was measured on the set of Lo Show dei Record in Rome, Italy on March 4, 2010.[17]

In some cases, the mustache is so clearly identified with a single individual that it could be identified without other identifying features. Kaiser Wilhelm II’s greatly exaggerated mustache played a prominent role in the propaganda of the Triple Entente, for example. Other notable people include: Adolf Hitler, Hulk Hogan, Freddie Mercury, Salvador Dalí, Frank Zappa, Tom Selleck, and Steve Harvey. In other cases, such as those of Charlie Chaplin and Groucho Marx, the mustache in question was artificial for most of the wearer’s life.

After a moped accident that left a scar on his upper lip, Paul McCartney decided to grow a mustache to hide it. The other members of The Beatles decided to do the same. They were first introduced with this new look on the cover of their 1967 album Sgt. Pepper’s Lonely Hearts Club Band. This marked the return of young men with mustaches in the 1960s.[38]

In arts, entertainment, and media[ edit ]

pseudonym [edit]

Mustache was the alias of a French comedian, François-Alexandre Galipedes (born February 14, 1929 Paris, France – d. March 25, 1987 Arpajon, Essonne, France), known for his roles in Paris Blues (1961), How to Steal a Million (1966) and Zorro (1975)[39]

Fictional characters[edit]

Mustaches have long been used by artists to make characters distinctive, like Charlie Chan, video game character Mario, Hercule Poirot, or Snidely Whiplash.

The Bollywood Sharabi film had a character named Natthulal whose mustache became legendary. Munchhen hon to Natthulal jaisi, warna na hon (mustaches should be like Natthulal’s or not at all) became one of the most quoted dialogues.

(mustaches should be like natthulals or not be at all) became one of the most quoted dialogues. At least one fictional mustache was so notable that an entire style was named after it: the Fu Manchu mustache.

literature [edit]

In 1954, Salvador Dalí published a book entirely devoted to his moustache.[40]

Fine arts[edit]

They have also been used to make a social or political argument, such as:

In the military[edit]

In the Indian Army, most senior rifle soldiers of the Rajputana regiment have mustaches,[42][43][44] and the Rajputana mustache is a symbol of the dignity, caste status and spirit of the Rajput soldiers. [45]

and the Rajputana mustache is a symbol of dignity, caste status and the spirit of Rajput soldiers. Mustaches are also known among US Army armor and cavalry soldiers. [46]

Mustaches were a compulsory part of British Army uniforms until 1916 and were later worn quite often by soldiers in the Falklands campaign.

In sports[edit]

Gallery [ edit ]

See also[edit]

Luigi Full Name Luigi Mario Species Human First Appearance Super Mario Bros. (1993) Portrayed by John Leguizamo

“Nothing is impossible Mario. Improbable, improbable, but never impossible.” Luigi, Super Mario Bros. (movie)

Luigi Mario is Mario Mario’s younger brother and co-owner of Mario Bros. Plumbing, their family business. Unlike his in-game counterpart, he has no mustache and is the bravest and most willing of the two brothers to rescue the princess.

history [edit]

Much of Luigi’s early life remains unknown. He never knew his parents, so he was raised more or less by Mario alone. Over the years, Mario also began training him to be a plumber.

One day, Luigi is watching the Our Miraculous World TV show when Mario gets a call about a plumbing job at the River Front Cafe. However, as the brothers prepare to leave, they argue about their money situation. Mario complains about how Luigi spends it on the New York Post, a tabloid magazine. He states that there is an article about the Brooklyn girls who recently disappeared, but Mario doesn’t care.

The brother takes a “shortcut” through an alleyway instead of going the normal route, and eventually arrives at the coffee shop only to find the Scapelli Construction plumber’s truck already parked there. Disappointed, the brothers drive home, only for their van to break down. Mario goes to a nearby store to get some water to cool the radiator, leaving Luigi to search a nearby payphone for jobs. As he does so, however, a young girl named Daisy approaches who wants to use the phone, and Luigi willingly gives it to her. After Mario comes out of the store, he convinces Luigi to offer Daisy a ride in her van, which she accepts. Back at her dig site, Luigi invites her to dinner, which she accepts.

Later that evening, Luigi and Daisy and Mario and his girlfriend Daniella have a double date at an Italian restaurant. There, Daisy explains the situation behind her dig: Scapelli found iridium at the site, suggesting that a meteorite struck the area, possibly leading to the extinction of the dinosaurs. The necklace Daisy is wearing is then brought up, and she explains that she never removes it because it is the only connection between her and her mother before she was abandoned. Luigi then brings up the story of his childhood, and when the two meet each other’s eyes, Mario decides that he and Daniella can take the van while Luigi and Daisy walk.

As they walk, they strike up a conversation. This eventually leads to Daisy leading Luigi to her dig site to show him her work. On site, she leads him to an underground sewer and shows him several dinosaur fossils. She notices the various, strange, human-like features that the fossils show. They come in to kiss but are interrupted by the sound of running water, along with two of Scapelli’s men running away. They destroyed the pipelines flooding the cave. Luigi and Daisy go to his house to get Mario and then go back to the dig site to fix the plumbing. After fixing the pipes, however, they are knocked unconscious by Iggy and Spike as they kidnap Daisy.

They immediately realize Daisy is missing when they wake up and use Mario’s knowledge of whistle echoes to locate her, eventually encountering a chasm and rock face through which Daisy’s voice can be heard. She can partially move through the wall, and Luigi tries to grab her, but she only manages to take her necklace. He then jumps through the wall behind her, followed shortly after by Mario.

After going through a portal, the brothers appear in a room with a meteorite embedded in the earth. When they hear Daisy’s screams again, they follow the kidnappers. As they enter an urban area, Mario and Luigi continue to chase Iggy and Spike. After observing their surroundings, they notice Daisy being forced into a cab. However, as they watch, they are arrested by the police. You fall through a grate to the lower part of the city and start exploring.

As they walk through town, the Marios encounter an old lady who asks them if they are “new in town” and tells them that it is dangerous if they are unarmed. When Luigi says it’s them, the woman tries to rob her for Koopa coins, but notices the necklace Luigi is wearing and grabs it instead. A woman named Big Bertha then grabs the necklace, throws the woman off the ledge into the lower section, then activates her Thwomp Stompers and flies away. Afterward, they encounter a bohemian hippie street musician named Toad, who sings one of his anti-Koopa songs to cheer them up. However, the police arrive right at the end of the song and arrest Toad. Mario and Luigi try to interfere, but the officer they are talking to notices their plumbing and arrests them as well. President Koopa previously sent out a “plumber alert” after hearing from his cousins ​​that they had stolen Daisy’s necklace. Apparently plumbing is a crime in Dinohattan as those who dare breach the barrier are seen as a threat.

At the police station, the trio are arrested and put in cells resembling kennels; Toad is placed above the brothers. While they are imprisoned, after notating various dimensions in a song about the history of their world, Toad informs them: Millions of years ago, a meteorite impacted the earth and split the world into two parallel dimensions, containing mammals in one and the dinosaurs in the other. Mammals and dinosaurs evolved over time. He then explains his personal belief that the fungus suffocating the city is its former king who has been de-evolved. Afterwards, the brothers are taken to see their attorney, who is actually President Koopa, who states his name is “Larry Lazard”. They demand to speak to Koopa, though he says he’s “a nasty, egg-sucking son of a snake” and then asks about the meteorite shard. However, the brothers do not know what he is talking about. Enraged, he begins attacking Luigi for the play. He is stopped by Mario, who is subsequently zapped by one of the guards for touching President Koopa. He then has Mario and Luigi taken to the Devo (De-Evolution) Chamber.

In the chamber, they witness Toad transform into a Goomba, a large, unintelligent creature loyal to Koopa. A dinosaur in phase one of the dinosaur-to-human process. As this is happening, he explains to them the process of evolution and de-evolution, noting when Mario questions it that it evolved from the Tyrannosaurus Rex. He then demands that Mario and Luigi hand over the shard or be de-evolved. As a further demonstration, he accidentally lets himself be turned back into primeval slime by a technician who sniffs him.[1] However, Mario pushes President Koopa in the chair and he and Luigi are able to defeat the guards. Luigi sets the de-evolution device to the “Jurassic” setting. He and Mario then slide the chair into the de-evolution device and escape. The devo chamber closes and the de-evolution process ends prematurely. Koopa is now particularly angry and vengeful.

As Mario and Luigi escape, they hide behind a mushroom-covered pillar. When Luigi notices the mushroom on the object, a Bob-omb suddenly comes into view, being suspended from the mushroom. However, when Luigi tries to take it, several Goombas arrive. They continue their escape by swinging down a zip line-like device while being blasted by Goombas, who shoot fireballs from guns at them. After landing, they go to the garage where they hijack a police car; Luigi can launch it thanks to video games. They drive out of the station, but are followed by two other police vehicles. After a brief chase, Mario is able to trick the officers into destroying each other’s cars by blowing each other up. At Luigi’s suggestion, they take the Koopahari Desert Tunnel, but it is unfinished and off the city’s power grid. Mario tries to stop the car but can’t, and the vehicle flies out of the end of the tunnel. Before they can crash into the ground, however, the fungus is able to hang them up. You get out of the car and start exploring the desert. As they wander, they argue about who is to blame for the situation. However, while wandering around, they hear evolved Iggy and Spike scream as they fly off a cliff and find them mostly submerged in quicksand. The brothers capture her and immediately interrogate her. After they both demand what they are looking for, Mario shuts them up and asks about the rock. Spike then explains to Koopa’s plan to reunite and rule both dimensions. When Mario asks why Koopa didn’t come over right away, they explain that the path was sealed for years until someone reopened it; Mario automatically assumes it’s Scapelli. Luigi then offers them the meteorite fragment in exchange for Daisy. Iggy and Spike agree to the proposal, but Mario informs them that the stone has been stolen. However, after receiving a description, Spike informs her that it is Big Bertha who works on the Boom Boom Bar. The four then set off.

Noticing a Sludge Gulper dumping garbage into the desert, they knock out the Snifits outside and hijack the vehicle to drive back into town, using Snifit masks to bypass the guard. Iggy and Spike then lend the brothers their ex-wives’ clothes to sneak into the bar and leave their plumbing gear with the cloakroom. Soon after, they are able to locate Big Bertha. Mario tries to seduce her twice; The first time he gets slapped in the face, the second time he dances with her. Just as the song ends, Mario is able to claim the meteorite shard from her, but Lena and several Goombas also arrive as the wardrobe called them. However, while trying to keep it away from the Goombas, they toss it back and forth. When Mario tries to catch it, it falls at Lena’s feet. They escape without the rock while being pursued by the Goombas. However, Big Bertha helps them escape by leading them into the dressing room and giving them a pair of Thwomp Stompers each. They jump out of the building’s roof with the stompers, and as Luigi walks onto a catwalk, he notices that the mushroom is once again offering them a bob-omb. However, the Goombas show up and Luigi gets the hang of it this time as Mario pulls him away. As they continue, they are cornered by the police but escape by jumping into another Sludge Gulper.

You and the trash will be dumped in front of Koopa’s tower. Inside, they notice the terrible heating system inside the building. Under Mario’s orders, they turn off the building’s heating, but as soon as they do, an alarm sounds. They find a locker room and some plumbing clothes, get dressed and head into an elevator. However, as they go upstairs, the elevator continues to fill up with Goombas, though they manage to escape their attention the entire time. Luigi hears the elevator music and begins gently rocking the Goombas to make them dance. Once all of the Goombas are distracted with dancing, Mario and Luigi exit the elevator and escape through the shaft.

They continue on their way and are stopped by a seemingly bottomless abyss. Luigi tries to jump over, and both he and Mario are surprised to see that he’s floating in mid-air. He convinces Mario to jump, but tries to stop him when he realizes his belt was actually attached to a hook, but is unable. When his older brother falls, the fungus creates a trampoline in the shaft. Luigi can catch him. When Luigi tries to swing him to a hatch, Daisy communicates with them on an intercom. When they reach the shaft, Daisy informs them that she is in Devo 4. Inside, Luigi notices that the fungus inside is trying to communicate with them again. As they continue walking, they are finally able to reach the chamber where Daisy introduces the brothers to their father. Daisy explains that he used to be the king but was turned into the town’s mushroom by Koopa. As Luigi and Daisy set off, they are intercepted and captured by Koopa and several Goombas.

As Koopa, his Goombas, Luigi, and Daisy head outside, Mario and the other missing Brooklyn girls fly out of an air vent on a mattress towards them. This distraction allows them to reunite, but Koopa is able to corner them with a flamethrower. However, he is distracted when told that the Goombas are dancing; As he speaks, Luigi grabs a Bullet Bill from the nearby shelf and gives it to Mario. He loads it into a Thwomp Stomper on the same shelf and mails it towards Koopa; He sends the second shoe to a pair of Goombas. Koopa is thrown into a vat hanging over the road, but fires at them with his flamethrower. As Mario and Koopa fight, the former drops the meteorite shard onto the street below. Luigi and the girls watch Lena catch it, but fall onto the section below and are electrocuted by the power grid. She lives and flees with the Shard, Luigi, and the others who follow them.

In the meteorite chamber, Luigi, Daisy and the Brooklyn girls witness Lena putting the meteorite shard in place. As the girls escape through the rock face back to New York, Lena fully inserts the shard into the meteorite and begins to merge dimensions. However, she cannot control the power, and Luigi and Daisy watch as she flies away and is embedded in the wall, now a skeleton. Daisy realizes that Koopa was right; Only she can withstand the power that comes from completing the meteorite. They then start using Mario’s plumbing tools to try and remove the shard. Eventually they are able to, and the two dimensions become two again. Returning to Mario, they encounter the Goomba-fied Toad, who gives them De-Evolution weapons, and Big Bertha, who gives him another pair of Thwomp Stompers. He joins Mario and gives him a de-evolution gun and the two shoot Koopa. As he’s being blown up, the Bob-omb Mario was using earlier completes his journey and explodes right below him, knocking him into a vat across the street. Seconds later, however, he emerges as a miniature Tyrannosaurus. The Mario Brothers blow him up again, causing him to devolve back into a primordial slime. After Koopa is defeated, everyone starts celebrating.

In the meteor chamber, Daisy uses the shard to reopen the portal between the human and dinosaur dimensions. Luigi wants Daisy to return with them, but she can’t as Dinohat still needs to be rebuilt. The two say goodbye and Luigi and Mario return to their dimension.

Three weeks later, Daniella has moved in with Mario and Luigi and is preparing dinner for them. Luigi is called over when he’s watching Our Miraculous World again, but calls in Mario and Daniella when the show starts talking about the brothers’ adventures, calling them the “Super Mario Brothers”. Then someone knocks on the door. Daisy walks in, wearing torn clothes and guns, and explains that she needs your help. The two strap on their tool belts to prepare to leave.

Gallery [ edit ]

References[ edit ]

* indicates a favorite course that was promoted to a favorite course after reaching level 3. ** indicates a favorite course that was promoted to a favorite course after reaching level 6.

*** indicates a preferred course that was upgraded to a preferred course after reaching level 8.

It was requested that more images be uploaded for this article. Do not remove this notice until the additional images have been added.

This is a list of fonts used in games and related media within the Mario series.

First Mario font [ edit ]

The first Mario font is an irregular sans serif typeface designed by Nintendo in 1996. It is used for the user interface in Mario games from Super Mario 64 to Mario Sports Mix before the second Mario font appeared in Super Mario 3D Land. After that, the first Mario font was still used via the Nintendo 3DS version of Mario & Sonic at the London 2012 Olympic Games.

Second Mario font [ edit ]

Introduced in Super Mario 3D Land, the Super Mario logo uses the second Mario font. The introduced current logo uses the second font.

The second Mario font is an irregular sans serif designed by Nintendo in 2011. It has been used for the user interface in Mario games since Super Mario 3D Land.

Gallery [ edit ]

Image showing samples of the second Mario font from Nintendo Co., Ltd.’s job site

All characters in the second Mario font

Super Mario Maker font[ edit ]

The Super Mario Maker logo uses the Super Mario Maker font. Logo uses the font.

The Super Mario Maker font is a geometric sans serif designed by Nintendo in 2015 and 2019, with the lowercase letters being designed in the latter. It is used for the user interface in Super Mario Maker and Super Mario Maker 2, the latter game using the lower case letters.

AdLib BT/Alor[ edit ]

Luigi’s Mansion: Dark Moon AdLib BT/Alor used in

AdLib BT/Alor is an irregular sans serif font designed by Alan Carr. It is used for the user interface in the following games:

Antito[ edit ]

Anito (アニト) is a rounded sans serif font by Type Labo. It is used for the user interface in Super Mario Maker.

Chiaro [edit]

Chiaro (キアロ) is a sans serif font created by Fontworks. It is used for controller setting texts in Luigi’s Mansion.

DF UD Gothic[edit]

DF UD Gothic (DF UDゴシック体) is a universal design sans serif font by Dynacomware. It is used for the Japanese language interface in Super Mario Maker 2.

GigaG[ edit ]

GigaG (ギガG) is a sans serif font created by the Visual Design Laboratory (視覚デザイン研究所). It is used for the Japanese language interface in Mario Golf: Super Rush.

Handel Gothic[ edit ]

Handel Gothic is a sans serif font originally created by FotoStar. Handel Gothic with a straight leg on “R”, a straight lower leg on “k” and a double V “w” modified with a short dash top left on the “1” is used for the interface in Luigi’s Mansion 3 for western languages.

Buzz [ edit ]

Humming (ハミング) is a rounded sans serif font by Fontworks. It is used for the user interface in Mario & Luigi: Dream Team.

Kurokane[ edit ]

Kurokane (くろかね) is a sans serif font created by Fontworks. It is used for the sticker text in Mario Party Superstars for the Japanese language.

Kyo Geki[edit]

Kyo Geki (京劇体) is an irregular sans serif font by DynaComware. It is used for the user interface in Luigi’s Mansion: Dark Moon for kana and kanji and in the Japanese and American versions of Mario Party 8.

Logon[ edit ]

Pre-release version of Mario Golf: Super Rush for Japanese and Western languages. In the final game, UD Shin Go will be used as the interface for western languages. Logona was used for the pre-release interface for Japanese and Western languages. In the final game, UD Shin Go will be used as the interface for western languages.

Logona (ロゴナ) is a sans serif font created by the Visual Design Laboratory. Its Latin letters are similar to Eurostile. It is used for the Japanese language interface in Mario Golf: Super Rush.

Mario Party text box[ edit ]

Mario Party Textbox is used for the user interface in the English version of Mario Party.

Mario Party Textbox FR/DE [ edit ]

Mario Party Textbox FR/DE is used for the user interface in the French and German versions of Mario Party.

Mario Party 2/3 text box [ edit ]

Mario Party 2/3 Textbox, as the name suggests, is used for the user interface in western versions of Mario Party 2 and 3.

Mario Party 4-7 text box [ edit ]

Mario Party 4-7 Textbox, as the name suggests, is used for the user interface in western versions of Mario Party 4, 5, 6 and 7, as well as in Dance Dance Revolution: Mario Mix and the European version of Mario Party 8.

Mario Party Hudson[edit]

Mario Party Hudson is used for large text in all Mario Party parts developed by Hudson Soft.

secret [edit]

Mystery (ミステリ) is an odd serif font by Fontworks. It is based on Matisse (マティス), a serif typeface, also by Fontworks. It is used for the place name HUD in Luigi’s Mansion.

Neo Sans[edit]

Neo Sans is a sans serif font by Monotype. It is used for the interface in Mario & Sonic at the Tokyo 2020 Olympic Games for western languages.

New Rodin[edit]

New Rodin (ニューロダン) is a sans serif font by Fontworks. Its Latin letters are similar to Eurostile. It is used for the user interface in the following games:

Pop Fury[ edit ]

Luigi’s Mansion Pop Fury, used for the controller setting name and the letters used to label the controller buttons

Pop Fury (Popフューリ) is a point-of-purchase font by Fontworks. It is used for the controller setting label and the letters that label the controller buttons in Luigi’s Mansion.

Pop luck [ edit ]

Pop Happiness (Popハッピネス) is a point-of-purchase typeface by Fontworks. It is used for the user interface in the following games:

In addition, it is used in Mario Tennis for Nintendo 64 on the court selection screen when listing ball speed/ball bounce.

Pop Joy[ edit ]

Pop Joy (Popジョイ) is a rounded point-of-purchase typeface by Fontworks. It is used for the user interface in the western language Paper Mario games since Paper Mario: The Thousand-Year Door and Mario Golf: Toadstool Tour. Pop Joy is also used as the text for Penny’s stage in WarioWare Gold.

POP mix [ edit ]

POP Mix (POPミックス) is a point-of-purchase font by DynaComware. It is used for the Japanese language interface in Luigi’s Mansion 3.

Rock’n’Roll [ edit ]

RocknRoll (ロックンロール) is a point-of-purchase font by Fontworks. It’s based on Rodin. It is used for the western language UI in Mario Party 10.

Rodin Maria[edit]

Rodin Maria (ロダンマリア) is a sans serif font created by Fontworks. It’s Rodin with Maria Kana. It is used for the user interface in the following games:

Super Mario Sunshine (Japanese language)

(Japanese language) Super Mario Galaxy (Japanese language)

(Japanese language) Super Mario Galaxy 2 (Japanese language)

(Japanese language) Mario Party 10 (Japanese language)

Rodin NTLG[edit]

Rodin NTLG (ロダンNTLG) is a sans serif font created by Fontworks. It’s Rodin with New Type Labo Gothic Kana. The kana stroke ends are horizontal or vertical. Rodin NTLG is the system font on Nintendo GameCube, Wii, Nintendo DSi, Nintendo 3DS and Wii U. It is used for the user interface in the following games:

Rodin Wanpaku[edit]

Rodin Wanpaku (ロダンわんぱく) is a sans serif font created by Fontworks. It’s Rodin with New Wanpaku Gothic Kana. It is used for the user interface in the following games:

rowdy [edit]

Rowdy (ロウディ) is a sans serif font by Fontworks. It’s based on Rodin. It is used for the user interface in the following games:

Seurat[edit]

New Super Mario Bros. U Deluxe The font as in

Seurat (スーラ) is a rounded sans serif font by Fontworks. It is used for the user interface in the following games:

Seurat Capie[ edit ]

Seurat Capie (スーラキャピー) is a rounded sans serif font by Fontworks. It’s Seurat with Capie Kana. It is used for the user interface in the following games:

Paper Mario: The Thousand-Year Door (Japanese language)

(Japanese language) Super Paper Mario (Japanese language)

burglary [edit]

Slump (スランプ) is a rounded sans serif font by Fontworks. It is based on Seurat. It is used for subtitles in Super Mario Sunshine.

So Gei[edit]

So Gei (綜藝体) is a sans serif font created by DynaComware. It is used for the user interface in the following games:

Super Mario Maker (Japanese language)

(Japanese language) Super Mario Maker 2 (Japanese language)

(Japanese language) Luigi’s Mansion 3 (Japanese language)

(Japanese language) Mario Party 8 (all languages)

TheSans[ edit ]

TheSans is a sans serif font from LucasFonts, designed by Lucas de Groot. A version of this font, TheSans Rio 2016, is used for the UI in the Wii U version of Mario & Sonic at the Rio 2016 Olympic Games for western languages.

UD Kakugo[edit]

UD Kakugo (UD角ゴ) is a sans serif font by Universal Design by Fontworks. His Latin characters are classified as humanistic. It is used for the UI in Super Mario Maker 2 for western languages. It is also used for the sticker text in Mario Party Superstars for western languages.

UD Marugo[edit]

UD Marugo (UD丸ゴ) is a rounded sans serif Universal Design font by Fontworks. It is used for the western language UI in Super Mario Party.

UD Shin Go[edit]

UD Shin Go (UD新ゴ) is a Universal Design sans serif font by Morisawa. The Latin letters and numerals are from ClearTone SG, a humanistic sans serif typeface, also by Morisawa, with slight modifications, notably in the letter “J”. In UD Shin Go, “J” sits on the baseline; while in ClearTone SG “J” falls below the baseline. UD Shin Go modified with a single story “g” from the Latin lowercase g is the system font on Nintendo Switch. The unmodified UD Shin Go with double stick “g” is used for the interface in Mario & Sonic at the Tokyo 2020 Olympic Games.

Yuruka[ edit ]

Yoshi’s Crafted World Yuruka used in

Yuruka (ユールカ) is a point-of-purchase font by Fontworks. It is used for the user interface in Yoshi’s Crafted World.

A Mario mustache is a type of mustache that is facial hair on the upper lip, designed after a video game character named Mario. Mario is the main protagonist of most Mario Bros. games and his original design featured the mustache he continues to sport in modern games. The basic mustache design has an upward curve at the top, similar to a smile, while the bottom of the mustache has a wavy pattern. As the Mario mustache has become more popular, a number of different products have been designed using the mustache.

While the term “Mario mustache” could conceivably refer to any mustache sported by a well-known Mario, it usually refers to the mustache of Mario, the video game character. First introduced in the 1981 Nintendo® game Donkey Kong, Mario is a character often recognized by his hat, overalls, and mustache. Much of its design was based on the reality of video game graphics of the time, which was limited to just a handful of pixels for each character. Mario’s hat was created to avoid having to animate hair, the jumpsuit was used to give more contour to his arms, and the Mario mustache and large nose added interest to the character’s face using just a few pixels .

The Mario mustache is fairly simple in design and hasn’t changed much since it first appeared. It is usually depicted with a peak that curves up at each end, like a crescent moon, and can either be a continuous line or fall down the middle to indicate Mario’s large nose. The bottom of a Mario mustache is scalloped, with a series of bumps giving it a wavy design. This is typically shown with six bumps of equal width, although the middle two bumps may be slightly smaller in some designs.

Mario is one of the most recognizable and famous video game characters of all time and that is how the Mario mustache has become just as famous. A number of different companies make synthetic mustaches that people can wear as part of a Mario costume. There are also patterns online that can be used to create a felt Mario mustache that can then be glued to someone’s face with a piece of rubber. Other products that have been created that feature the mustache are drinking glasses that give the drinker a mustache through the glass, jewelry, t-shirts and even neck warmers.