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Mario has done a Ghibli-esque realistic fantasy ( Super Mario RPG, “SMRPG”), a grand, “ Lord of the Rings”-esque high fantasy adventure ( Paper Mario, “PM64”), an operatic space narrative ( Super Mario Galaxy, “Galaxy”), a true Odyssey/war movie ( Paper Mario: The Origami King, “TOK”), a classic action-adventure story cut from the cloth of Indiana Jones ( Paper Mario: The Thousand-Year Door, “TTYD”), a multiverse-spanning weird sci-fi movie set against the end of the world ( Super Paper Mario, “SPM”), and the list goes on and on (see below). Each of Mario’s genre-specific games you remember for being their own, and each one leaves you with a feeling of loss after you finish said game because you know that, from a narrative perspective, it more or less stands alone.