Plot
Vibe Island, a land adjacent to the Mushroom Kingdom, has been rumored to hold hidden powers. Bowser decides to build a summer villa there in hopes of harnessing the rumored power. His efforts are rewarded when one of his underlings finds the Vibe Scepter. He sends a Goomba and an army of Hammer Brothers to Princess Peach's castle to capture Mario. The Vibe Scepter changes the emotions of those around them & they may become calm, happy, angry or sad. While all of the Toad servants are affected by the scepter's power, the Hammer Bros. seize Mario, Luigi, and Toad. Shortly after the capture, Toad escapes to the Mushroom Kingdom. Princess Peach, and Toadsworth, come back to the castle to find Mario and Luigi gone. Toad runs up to Peach, and Toadsworth attempts to convince Peach to not go after Mario and Luigi, but relents and gives her Perry, a talking parasol that has magical powers.
Perry's backstory is revealed through in-game flashback sequences. He remembers his origins as a young boy who had mysterious powers and was adopted by an old man he came to call "Grandpa". He was changed into an umbrella and kidnapped by a wizard and his henchman, but managed to secretly escape by wiggling free from his captors and falling on the road. Sometime later, a traveling merchant found him and sold him to Toadsworth.
In the game, Peach and Perry battle through eight worlds, rescuing Toads along the way. They find Luigi at Giddy Sky, where he escapes from the bubble he is trapped in after Giant Kamek is defeated and later find Mario at Bowser's Villa. Peach and Perry then confront Bowser, who uses the Vibe Scepter to grow enormously. Peach prevails but she, Perry, Luigi and the Toads watch in amazement as the lock on Mario's cage door breaks and he escapes himself. Princess Peach then kisses Mario and he gives her a bunch of flowers.
Read more about this topic: Super Princess Peach
Famous quotes containing the word plot:
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
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And midwife Time the ripened plot to murder brought.”
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—Woodrow Wilson (1856–1924)