Mario's Melodic Maps

Super Mario Bros. 3 is awesome. It’s not only widely-regarded to be the best NES Mario platformer, it’s also one of my favourite Mario game. Yet while there’s much to discuss, I think the unsung hero’s the music. Particularly the overworld map tunes, which are still impressive over 37 years later. So why not discuss them? Yeah, let’s do that.

As always, this list is subjective. Also, I’m ranking these not only by how good they are, but also by how well they complement their respective maps:

9. Warp Zone

I’m going to say something controversial: if I were judging it solely on its catchiness, this’d be near the top of the list. Not only does it evoke the feeling of being swept away to a heavenly place, it’s easily the catchiest tune in Mario’s pantheon. So much so that it’s been referenced in future Mario games to underscore otherworldly retreats from reality, like in Super Mario Sunshine where you visit a 5-star hotel. It’s so lulling that it even can put me to sleep. That’s not easy given that I have insomnia.

However, we’re not judging solely on music. Warp Zone’s definitely relaxing, but its map isn’t essential. It can also only be accessed with a Warp Whistle, of which there are only a handful. And the map allows you to, as implied by the name, warp to other levels, making it feel like cheating. Essentially, this is really a placeholder, one most gamers will never experience.

Nevertheless, I really like it. Super Mario Bros. 3’s notorious for pushing the envelope of The Nintendo Entertainment System/Famicom, and this encapsulates that. After all, it’s a tune in a dreamlike environment! And it’s entrancing! What’s not to love? I’m waiting for an answer…

8. Castle of Koopa

Moving on to entries you’ll actually experience, Castle of Koopa is one of the weaker entries here. I say that both as music, and a map. Musically it’s haunting, but Super Mario World revamped it with its final boss theme. It keeps getting darker and darker, but never resolves itself melodically. Instead, it loops endlessly, made more frustrating by the map having sections that feel disconnected geographically. One section even occurs in darkness, and it’s annoying keeping track of my location.

If there’s one area where this is saved, it’s in the feeling of doom and gloom. This is the final world, and it lets you know that. Between the map being surrounded by flames, interruptions from thunder and hands that drag you into specific levels, the game knows that you’re nearing the end. It throws out all the stops to make you earn your victory. Couple that with Princess Peach being held captive by Bowser, and the stakes couldn’t be higher.

I know this is low on the list, but I don’t dislike Castle of Koopa. Quite the contrary! I like all these tunes! But it doesn’t do it for me like the others do. You’re entitled to disagree, though. And I wouldn’t begrudge you for it.

7. The Sky

Another low entry, The Sky’s tune isn’t terribly inspired. The only point of note is the drum beat, which begins with a bang before repeating on loop. It’s a shame because the map itself is unique and inspired, with the first and second halves divided by a fake-out castle where you ascend to-you guessed it-the sky. I’m not sure why this tune was chosen for this map. Couldn’t it have been swapped with Warp Zone? That’d make more sense!

Whatever! For what it is, it’s catchy. The banging of the drum makes it hard to get out of your head, and that’s good because there’s not much else to discuss. It’s a repeat of the drum, interspersed with mildly-catchy notes. Those notes prevent it from getting stale. That’s it.

But…why have this be the choice for such a cool map? Seriously, no other world changes thematic layouts halfway through, not even the one with Bowser! You couldn’t have come up with a better choice of music? Really?! Oh well!

6. Big Island

Come to think of it, The Sky and Big Island should’ve swapped places. Why? Because the former’s otherworldly, while this map’s gimmick is that everything’s gigantic. Since the enemies here can stomp you flat or paralyze you temporarily by ground-pounding a platform, a heavy drum beat fits. Instead, here’s a high-energy disco theme with a fast beat and a catchy melody. Okay, sure.

That harmonic dissonance is Big Island’s greatest strength and greatest weakness. On the plus side, it’s really catchy, preparing you for enemies three times their normal size. On the flip side, that makes you feel intimidated in each level. Having the map beat pump you up only gets you so far before you freak out. It’s a weird choice to have, essentially.

Still, does Big Island’s theme work? Yes. Yes it does. It’s not only easy to hum, it’s also faster-paced than everything else, making it unique. I simply wish it’d been used for a different level.

5. Pipe Maze

Pipe Maze is a fittingly middle-of-the-road entry. As a tune, it evokes film noir in its vibes, like you’re traversing an underground economy. This is complimented by the map being interconnected pipe mazes, with each taking you somewhere new and unexpected. Essentially, the marriage of music and level theme is perfect. It’s a classic example of “setup” and “payoff”, which is what you’d expect. So why isn’t it higher?

For two reasons. And both have to do with the world’s gimmick. For one, a level map themed on pipes isn’t terribly inspired. Yes, the levels are unique, relying on the concept of interconnected pipes. But pipes being the modus operandi is annoying. Couldn’t the game have chosen something more inspired?

And two, these pipes can be frustrating. Not only in the levels, but also in the overworld map. I frequently find myself trying to figure out which pipes take me to which sections, and for someone with a faulty working memory that can be challenging. Factor in that this is an 80s game, and those are notorious for not giving any guidance, and it’s easy to become confused. So while the tune is neat, the world…not as much.

4. Desert Hill

Getting to the upper-half, Desert Hill’s what I remember most as a kid, with it being exotic. But that could also be because I never progressed past it until I beat the game as an adult. Still, it’s really awesome. Whenever I listen to it, I picture the hot, glaring Sun beaming down on me like I’m in The Sahara, and it’s fitting that it’s attached to a desert-like map. Go figure!

That’s a testament to this level though, as well as its tune. Ignoring how Desert Hill was the bane of my youth, the tune feels like it’s drawing from Arabian-style music. This is especially-apparent in how sly and slow its notes are, really dragging the feeling of being in a harsh, unforgiving climate. Which, for all intents and purposes, isn’t untrue to what’s going on. But I digress.

What sells it is the terrain of the map. Not only does it have a lot of sandy browns, but there are pyramids and mini-oases scattered everywhere. It’s no surprise future Mario titles would take inspiration from this level, because it works. It anchors you with sand dunes, pyramids and an angry Sun that tries to kill you. I wouldn’t have it any other way.

3. Iced Land

One of the biggest strengths of Iced Land is that it’s endured enough to be referenced in the Paper Mario series. That’s because, despite the map being a tundra, there’s an eery, ethereal quality that gives me shivers listening to it. Snow levels in Mario games aren’t usually this eery, and the world map glistening periodically from the ice caps makes you feel like you’ve entered a hellish world you have to escape from. Either that, or survive. I’m unsure if one or both are true.

That said, the tune is quite powerful. A tundra, like a desert, is notorious for being harsh and difficult to live in, as the only major difference between the two is temperature. That’s right, a tundra’s basically a frozen desert! And while you’d think a tundra would be worse, because it’s colder, it’s not. Still, it’s nice to think that anyway. And the tune here doesn’t convince you otherwise.

Another advantage? This tune’s similar to Castle of Koopa, complete with a lack of resolution, but it works so much better. Because while Castle of Koopa’s lack of wholeness is frustrating due to the map itself, as well as being improved upon in future titles, Iced Land drills home the existential dread that compliments the map perfectly. That’s hard to do, since Mario games rarely have foreboding themes for their “Winter levels”. You can’t help admiring that, which is why I love it.

2. Ocean Side

And here we get to my favourite map tune. It’s not the “best” one, we’ll get there, but it’s my favourite. Why? Simple: it became the file select music for the Zelda franchise. That’s right, one of that series’ greatest pieces of music started as Ocean Side. Is your mind blown?

It should be! Aside from both franchises having the same composer, hence cross-pollination, this particular tune’s also really memorable. It might actually be too memorable, as this map’s gimmick is water. Lots and lots of water. Water’s usually a video game designer’s biggest irritant, as it’s hard to program. So for an otherwise frustrating concept to be underscored by such awesome music? It’s jarring, and I mean that in a good way.

It's especially jarring because water levels in Mario games are my least-favourite. Swimming and floating in an element not weighted by gravity can be challenging, made worse by Mario moving slower than if on land. My most frustrating experiences with Super Mario Bros. 3 involved navigating water levels for that reason. So for a tune to bring this map so many rungs higher up with its melody alone? That’s the highest praise I can give this Zelda tune prototype.

1. Grass Land

Now we get to the “best” map tune. Picture this: it’s 1990, or 1988 in Japan, and you’ve purchased Super Mario Bros. 3. You take it home, pop it into your console and press the power button. After the intro screen, you’re greeted to the game’s first map. And alongside learning the ropes, you’re greeted to a catchy jingle with hummable bops. In those first 5 seconds, the game’s music has already imprinted on you.

Doesn’t that make you feel good? I know it does for me! And I like how, despite being short and looped, Grass Land’s a complete melody. It has a tune that it remixes in three different ways, each with a brief silence afterward, and then it ends. That’s some impressive sound design for an 8-bit game that’s testing its console’s limitations.

Additionally, it’s fun to listen to! It’s fun to listen to in the game, and it’s fun to listen to on its own. The map itself is good on its own, but this? This glorious tune? A tune that’s an iconic bop in its own right? That it resonates with me now like it did when I was younger is a testament to its timeless. I wouldn’t have it any other way.

And that about does it for me! Feel free to listen to the tunes yourselves, and I’ll see you next time!