The most experimental Zelda game. Writer’s note: I have been sitting on this one for almost a year. Waiting. Until the release of Breath Of The Wild. And now that time has come. Now we are only one week off from the latest Zelda game so why not take a look back at one of Zelda games that tried to do something a bit more different than other Zeldas.
What happens when a development team has to re-imagine their game but refuses to do so? You get a game that experiments way more with the atmosphere and ideas of the series than ever before. That’s how development on Majora’s Mask started. Miyamoto wanted to create a version of Ocarina Of Time for the Nintendo 64 Disc Drive with redesigned dungeons. Aonuma, however, thought differently about it and after some bartering, it was decided he could develop a new game as long as his team could finish it in one year. What we got was an interesting game for sure. But does the different style and the unique mechanics make it a Zelda game worth noting? Let’s take a look.
You’ve met with a terrible fate, haven’t you?
The story picks up right after Ocarina of Time. Link sets off on a journey to find a lost companion. During his trip, he encounters the mischievous Skullkid and his two fairies. After Skullkid steals Link’s horse, the green-clad fairy boy gives chase. When he finally catches up with the forest imp, Skull kid uses an ominous mask to turn Link into a deku plant. While trying to cure himself of the curse, Link soon comes across the original owner of the mask. The mysterious man explains that the mask was stolen from him and asks Link to retrieve it. Link only gets three days to do so as the mask salesman leaves after that time. Coincidentally, it appears Skull Kid used the dark powers of the mask to summon the moon and make it crash into the world in those three days. Now it’s up to our hero to stop this disaster from happening within the time that’s been given him. Majora’s mask is generally considered to be a much darker Zelda thematically, which is certainly the case. The game’s main theme always seems to involve death in some way. The moon crashing into Termina and killing everyone, the masks you collect containing the spirits of deceased souls who still have unfinished business or the sidequests dealing with some sad and somber stuff. While the world keeps its colors and whacky designs, the themes going on in this world are anything but. Sidequests specifically tend to have some heavy subjects usually revolving around death or loss. Its dark themes yet bright setting makes the world of Termina feel very surreal and unsettling. There isn’t almost a soul in this land that seems truly happy. Even the player gets hit with this feeling of futileness. One of the game’s mechanics is traveling back to the first day. But in doing so only a small amount of progress is kept. In other Zelda games, Link arrives at a new location and is presented with a dilemma that is usually solved by destroying an evil in a dungeon. This is also the case here, but since the player can’t possibly clear the game without going back in time a couple of times, all the problems Link fixes on his quest get undone. The grief-stricken Zora who regains her singing voice after her stolen eggs are retrieved from the pirates is basically for nothing when you inevitably have to return to the first day. The game effectively shows you the fruit of your labor only to see that same fruit back in the same depressing state it was when time is rewind which leaves the player with a hole where satisfaction should be. Majora’s Mask is a lot more cinematic. In Ocarina of Time, cutscenes were usually a simple visual with a wall of text over it explaining events, places or characters. Here, however, characters interact in cutscenes and there is a lot more use of cinematic angles. This can be seen immediately in the game’s intro. While a more refined cinematic approach was done to make the story more engaging, Majora’s mask seems to intentionally leave a lot more questions unanswered. The copious amounts of fan-theories further solidify this. Who is the Mask salesman really? Why does everyone in Termina look the same as in Hyrule? Questions like these are left blank and soon the player’s mind will wonder to the possible explanations. Major’s mask does things a bit differently than other Zelda’s and its setting and themes are what makes this game such a beloved one. It somehow manages to exude sadness that seeps trough the screen and slowly seems to engulf the player.
Cutscenes are done in a cinematic and a depressing style.
Interesting new mechanics.
Majora’s mask still has the same Zelda formula but the way it approaches the formula is radically different from most games in the series. There is an overworld with hub-like areas where a series of tasks must be completed before the player can enter the area’s dungeon. The main gameplay gimmick of Majora’s Mask is the ability to switch forms and gain powers through wearing different kinds of masks. The main masks in the game allow Link to change into several of the series’ staple races all with their unique powers and abilities. Link’s Goron form can deal more powerful blows and can roll into a ball to crash through rocks at high speed and Link’s Zora form for instance can maneuver underwater with ease and can throw his fins as boomerangs. Some masks don’t have such radical changes and are meant to solve or help with quests like the rabbithood which makes Link run faster or the fairy mask which draws in fairies from farther distances. The switching of masks is quick and the different playstyles the main masks offer are fun to use and while they are just technically a compilation of main items from Ocarina Of Time, they feel very unique. The second big unique gameplay mechanic is the three-day cycle timer. Link must save all of Termina in three days time. Characters and events will change depending on the time of day and what day it is which makes the game feel like it’s really progressing in time. It certainly appears impressive for a game from its time. What’s not as impressive is that when time get’s rewind back to the first day all progress made those days will be lost. Items obtained and dungeons completed stay but all disposable items like nuts, arrows and even rupees disappear meaning players will have to re-collect those items if they want to use them. Rupees can be deposited in a bank but other items are completely lost. This shouldn’t be a problem if the player slows down time on the start of the first day they will still need to and remember to do so AND not waste time trying to find out where to go and what to do. If the player isn’t as well versed in these this kind of games, the time limit might be a frustrating nuisance. For the most part, the game follows a nice steady pace with little to no flaws. That is not counting the entire pirates’ fortress or water dungeon. The pirate fortress is an absolute pain if the player goes into the dungeon with less than a few bottles. Players have to collect six eggs scattered all around the fortress and eggs can only be carried in bottles. Unless you’ve done any side-quests to obtain extra bottles, you will have to either hunt down extra bottles or will be forced to go back and forth between the fortress and observatory quite a few times to deposit the eggs from the bottles. It’s incredibly tedious to say the least. The water dungeon is just a confusing mess to get trough and once the player actually gets through they get greeted with an incredibly frustrating boss. Bosses are another weak part of the game. They work much like other bosses with an exploit the player has to take advantage of with their newly acquired item. The difference here is that in other games downing a boss means the player gets in three hits before the battle continues and this pattern is repeated three times. In Majora’s Mask bosses take a ridiculous amount of hits which is very unlike other bosses in the series. While the same principle still applies to the bosses here, they take quite a bit more hits before going down. It’s almost as if the bosses should have a big life-bar and it makes the battles harder and sloppier than they need to be. The boss in the water temple specifically being more frustration than fun. These complaints don’t mean Majora’s Mask is a bad game. On a gameplay level, Majora does some things worse but also better. The amount of side quests in the game far outstretches anything any other Zelda has tried and are some of the highlights of not only the game but the series in general. Quests in previous games usually revolve around an NPC wanting the player to collect items and bringing them to the NPC for a reward. No side-story or what could be considered traditional questing to speak of. Majora’s Mask mixes things up with some great side-stories even if the quest mostly involves you just talking to people. There is a myriad of things that the game does differently than other Zelda games that make it so interesting to play. There are flaws with mainly the timer, the fortress and water temple but these are just minor complaints in a game that changes things up enough to make it stand out from the rest of the series.
The masks mix gameplay up quite a bit.
Dark and atmospheric.
Majora’s Mask recycles a lot of assets from Ocarina Of Time but despite that, it manages to create its own style and personality. All enemies and NPCs are re-used but in ways that make them interesting. Since Majora’s Mask takes place in a different location than Ocarina Of Time, all the returning NPCs are now different characters with different personalities. This makes Termina even weirder than it already is with characters that look the same as the ones in Hyrule but who don’t know Link and act entirely different. It all adds to the surreal mood and the bizarre vibes the game gives off. The locations players visit are a definite step up from Ocarina Of Time’s areas. While the game recycles almost all enemies, NPCs and other assets from Ocarina Of Time what is being done with it makes all the difference. New things like a realistic human face on the Link statue or a screaming face on the mirror shield have this uncomfortable creepiness to them and that’s something almost every new asset in the game has. Environments are on a visual level design aspect certainly a definite step up. Locations have a more distinct flair compared to most areas from the previous games. The Areas take a more platform approach which makes traversing them way more fun. Instead of the fairly generic mountain, forest and town area players are treated to more visually unique distinct locations. By far the most visually distinct element of the game is the moon. All over Termina where the open sky is visible, so is the ominous looming threat. Even in locations where there is no clear sky the moon makes itself know to the player by causing earthquakes. The sound design here is also of much help with grumbling sounds whenever the earth shakes and the bell tolls that happen every twelve hours makes sure the player never forgets the danger that creeps closer. Being able to see to basically see the villain at all times is a very effective way give the adventure a sense of dread that later games like Xenoblade utilized to a great effect. Music is on par with the rest of the series. Tracks are memorable with Ancients theme and the Stone Tower Temple certainly being the highlights. Above all things, Majora’s Mask absolutely nails the atmosphere. Everything is dark and ominous but still with that certain uplifting mood Zelda is known for. At the end, Majora’s Mask will leave you with some of the most memorable moments of the series. The first time you meet one of the Giants is one of the most memorable moments in gaming.
Areas are visually more distinct than previous games in the series.
Surreal and disturbing.
Closing note:
Majora’s Mask is another great addition to the series. Maybe not because of its level design or dungeons but certainly because of its atmosphere. Its darker and more disturbing tone makes it stand out from all other Zeldas and make it memorable in its own unique way. The story is well-done and falls in line with the other Zeldas but the narrative highlight of the game are the side quests which all have their own story to tell. Because of this, side-quests are more varied and engaging to do compared to most titles in the series. As far as gameplay goes, the masks make the game very different from other games in the series. The three day cycle mechanic isn’t a nuisance for the most part if players slow down time and make sure they return to the first day in time but there can be parts where the mechanic can be a burden. Players having trouble with dungeons or bosses will feel the sting of the timer the most and get frustrated by it. The game is shorter than most Zelda games with only four main dungeons. The water temple and pirate fortress are a drag to get through and the boss of the water temple is just frustrating on every level. Bosses now take a lot more hits rather than the series’ rule of three and it can be a hassle to fight them sometimes. While its gameplay is fun, it drops the ball in a few cases but it’s still the same Zelda people have come to know and love(or hate). As far as presentation goes, the game nails it. Areas’ geometry seems more platformer-like and makes exploring them more fun. The dark surreal atmosphere really shines here with things like the moon letting its presence known at all times whether it’d’ be visually or auditory. It makes the threat really sink in. The visuals are the same as Ocarina Of Time and while it’s nothing impressive, the game’s art style manages to make these old models have their charm. The game’s cinematic approach was a series first and it fits the series well. Majora’s Mask is a great experience with a few flaws that hinder it only slightly.
8/10
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