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With the ticking time bomb moon approaching rapidly, there’s never enough time to sit back and properly explore the dense and interesting world when focused on a quest, but with the ability to reset time, it’s possible spend a couple of 3-day cycles to indulge in a bit of tourism. His inability to accept loss and his desire to persist at a time in which he is able to search for his lost loved ones, as opposed to accepting the reality, is a poignant, challenging theme to come to grips with.īut the time mechanic also provides a nifty gameplay mechanic, whereby puzzles will require players to be in specific places at specific times, and learn the movements of important characters so that they can press onwards. The repetition represents Links’ denial of death. This repetition fulfils two roles – firstly, it holds thematic importance. In those three days the people around him will go through the same routines, fearful of the moon looming closer, but never quite aware of just how doomed they really are. There are only three in-game days of play in Majora’s Mask, but Link can play a certain musical score on his ocarina to be taken back in time to the start of the first day.
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Simply kicking back and playing it, while enjoyable, is not what this game is about.Ĭentral to the game’s theme is the concept of time repeating.
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In what was really a first for the series Majora’s Mask wants to be analysed, like a piece of literature or a fine film. Majora’s Mask is daring and brave, and it demands a lot from its players. Now in my old age (well, relatively old age), I understand why the game didn’t resonate with me – it’s simply not a game for children. When I was a child playing this for the first time I didn’t especially enjoy it, despite never quite understanding why. The narrative juxtaposes with a muted, but still colourful overworld, and breathtaking soundtrack, and the 3D that the 3DS version brings to the table emphasises the simplistic beauty of Nintendo’s vision even more.īut what I find more fascinating about this game than anything else is just how different my response to it is now than when I played it on the Nintendo 64 for the first time. There’s an incredibly deep explanation on how the game works as an analogy for the five stages of grief, so I’ll refrain from covering that ground again and simply link you over to it ( warning: major spoilers in there), but the fear, the melancholy, and the overwhelming sensation of loss taints everything that happens in this adventure. It wasn’t just darker, it was outright dark. It is an abject terror in it inevitability.įollowing on from the grand adventure that was Ocarina of Time, Majora’s Mask was something entirely different. A moon, summoned by a dark power, is descending on the planet, coming ever closer as the days count by, and slowly the earthquakes from the moon’s gravitational power gather in strength as the moon grows in size until it is dominating the entire skyline. Majora’s Mask is a quest in which Link is looking for lost companions dear to him.ĭown a rabbit hole Link goes, a secondary analogy to how Alice began her vision quest in Alice in Wonderland, and finds himself in a world that is doomed to annihilation in just three days. The Crow was a story of a search for meaning, as the masked protagonist hunted for the source of his fiancee’s murder. The Crow’s protagonist wears a mask to both conceal his inhuman nature, and Majora’s Mask Link wears masks to literally turn himself into other being, and thus conceal and resist his own nature. There are a lot of similarities between The Crow, a film about a man unable to come to terms with his own death, and The Legend of Zelda: Majora’s Mask, a game that is an analogy for the stages of grief.