Majora's Mask: Unapologetically Unsettling

(As I've been pondering why Spirit Tracks isn't as good as previous Zeldas, I found this old blog post I wrote for my blog over on 1up earlier this year - March, to be precise. Why I posted it there and not on this blog I'm not sure. But I'm putting it here because I'm very proud of it. It's a long read though, and kind of pretentious. But who cares. Enjoy.)

This article contains HUGE SPOILERS about Majora's Mask – you have been warned!

It is evident immediately upon starting Majora’s Mask that this game is nothing like any other Zelda game. The previous Nintendo 64 Zelda, Ocarina of Time, opened with a calm horseback ride with pleasant music. Yet here, after the eponymous mask itself spins onscreen, the player is shown a curious character known as the Happy Mask Salesman holding the mask aloft much like Link would when he finds a treasure – but rather than play the familiar Find Item tune, you hear the man oddly chuckle. The introductory video to the game’s locale then begins with cheery music, showing a typical day in Clock Town, its residents going about their business. Once the time of day in the video changes to night, however, the player is shown the Skull Kid, the main enemy, wearing Majora’s Mask, and the music plays a snippet of the disturbing Skull Kid’s Theme while the camera pans out further to reveal a deranged looking moon. It is at this point that the game’s title appears, to drive the point home that this game is going to be a rather unsettling affair.

Once a file is created and the game proper is started, the opening video lays out the back story. Link has become a legend in Hyrule, and is in search of a “beloved and invaluable friend” – Navi, apparently, judging by the fairy sound that is heard immediately after that text appears on screen. Link is then shown for the first time, riding Epona through a foggy forest (the Lost Woods, perhaps? It is never made entirely clear). He appears to have been riding for a long time, as he is slumped in his saddle and generally looks tired. Epona stops and Link looks around, presumably to try and get his bearings, when two fairies startle Epona, who knocks Link off her back. The Skull Kid wearing Majora’s Mask then appears out of thin air and tells the fairies they did great, and wonders if Link “has anything good on him.” The Skull Kid then goes up to an unconscious Link and robs him of the Ocarina of Time, and attempts to play it. While he does that, the personality of the two fairies are first revealed. The purple fairy, Tael, has a personality very similar to Navi from Ocarina of Time – positive, curious, and nice, whereas Tatl seems to be the opposite – negative, impatient, and kind of a bitch. At this point, if the player tries to guess which of these fairies will be journeying with them, it is safe to think that most of them probably assume the upbeat Tael will be coming, because they are used to the personality of that fairy given the fairy they had during the last game. But as the player will soon discover, the nature of the game necessitates that it will of course be Tatl.

At this point, Link wakes up and attempts to catch the Skull Kid, but fails – the Skull Kid steals Epona and rides off, but Link is able to grab one of Epona’s legs. Link falls off as the Skull Kid rides into a door in a tree stump, and the player is given control of Link for the first time. Link follows the Skull Kid into the doorway, and falls down a deep dark hole. He lands on a pink flower, and the Skull Kid, along with the two fairies, is floating before him. It laughs, and tells Link that he got rid of his “stupid horse” – forcing the player to ask, “What happened to Epona?!” Then, he makes fun of Link (and by extension, the player) for being sad at this notion – “Aw, boo hoo – why the sad face? I just thought I’d have a little fun with you.” Then, the Skull Kid starts to do something to Link, and as he does so, it appears Link is in great pain. Then a very blurry sort of dream sequence is shown where Link is surrounded and chased by Deku scrubs. When Link comes to, he has been transformed into a morose-looking Deku scrub. This scene mirrors the scene in Ocarina of Time in which Link awakens after pulling the Master Sword out of its pedestal for the first time to find himself to be seven years older. But the difference this time (besides the end result of the transformation, of course) is the tone. In Ocarina of Time, when the player first discovers they have aged and are now an adult, the player is meant to feel empowered and excited to try out the older Link’s abilities – here, the player feels confusion and is likely put off by this transformation. This is a great example of the way Majora’s Mask subverts expectations. The Skull Kid leaves, and Tatl hits Link, preventing him from giving chase. The door slams shut, and Link and Tatl are left in the room. Tatl begins yelling at Link, blaming him for being separated from Tael and the Skull Kid, and tells Link to open the door for her.

Tatl is an important character to analyze. Remember, the beginning of Link’s journey was to find his upbeat fairy partner from Ocarina of Time, Navi. Link finds a fairy, but again, rather than the happy, energetic, nice one, he gets the opposite – a mean, impatient bitch of a partner, who berates everyone she talks through throughout the game (even her brother, the fairy Tael). One of the most famous lines of dialogue from the game is when she tells a NPC “Oh my. I pity you,” and offers no further comment on their plight. It’s interesting to note that Tatl and Midna from Twilight Princess share many personality quirks, although admittedly, Midna is much more fleshed out in her game (out of necessity, really – Midna is much more important to the story of her game than Tatl is to hers). Thus the dynamic Link shares with Tatl is completely opposite from the last fairy he partnered with.

So, after learning to fly using the pink Deku Flowers, Link goes through a twisty hallway similar to the one in the Forest Temple in Ocarina of Time, and finds himself in Termina. Note the name; throw an L at the end and you’ve got Terminal – doesn’t imply a very cheery place, does it? Link starts out in Clock Town, named for the giant clock in its center. Once Link exits the clock tower, the ever-ticking clock is first shown at the bottom of the screen. This is the central conceit of the game: Link has three in-game days to complete his adventure, which translate to about a half hour of real time to a day of game time. If he doesn’t save Termina within the three day period, the giant moon shown in the game’s title screen crashes into Termina and, well, terminates it. Of course, since Link quickly gets his Ocarina of Time back, this means that every time he plays his the Song of Time, he goes back to the beginning of the first day – while only keeping key items he collected throughout that particular three-day period. All events revert to their original state when he goes back in time. This means that any sidequests he undertakes will reset, along with any dungeon progress he has made that doesn’t include getting the dungeon item or beating the dungeon boss (dungeon maps, compasses, small keys, and boss keys all disappear when the three day period starts over, and all unlocked doors become locked again, etc.).

Since Majora’s Mask was released for the Nintendo 64 two years after Ocarina of Time, Nintendo opted to reuse assets from Ocarina. At first glance, this would seem to be a lazy, cost-cutting measure on Nintendo’s part – and while it may be true that Nintendo was trying to save money, they certainly justify it in game. The NPCs from Hyrule are all in Termina, but they all play new roles here – none of the characters (except for, possibly, the Skull Kid) recognize Link from his last adventure. So the Cucco Lady from Kakariko is now the proprietor of the Stock Pot Inn, Talon is now the bartender at the Milk Bar in Clock Town, Koume and Kotake (who were actually bosses from Ocarina) now run businesses in the Southern Swamp, and there are plenty more. Of course, none of these characters are actually FROM Hyrule; they just look like the characters Link saw in his last adventure. So why bring this up? Because whenever the player sees a familiar character, they are usually doing something that they would not have been doing in Ocarina – like Koume selling potions to Link, for example – which is yet another way Majora's Mask unsettles it's players.

So what does Link have to do in this land called Termina? Well, to stop the moon from crashing, he has to go to the dungeons in the four cardinal directions and awaken the gods that are imprisoned in them. That’s right – there are only four dungeons in Majora’s Mask, and while they are fantastic dungeons, it should be noted that Majora's Mask isn’t a particularly long Zelda game. To get to all these dungeons, though, Link has to obtain different masks to transform into different races – he starts with the Deku Mask, and then gets the Goron Mask and the Zora Mask. Each of these races give Link different powers, and none of them use Link’s sword to attack. The Deku can shoot bubbles which can cause a little damage, and it can also spin attack to hit enemies, in addition to being able to fly when using a Deku Flower. Goron Link can roll into a ball and, using magic power, make spikes jut out from his body and start rolling at high speeds to crash into enemies and fly off jumps. Zora Link can swim at high speeds and generate an energy shield, while also being able to use two of his fins like boomerangs.

Obtaining these masks, however, is sad and unsettling every time. The Deku Mask is obtained when Link is transformed into a Deku at the beginning of the game, and it initially seems as though that’s it – but before he reaches Termina, Link goes past a very sad looking tree. During the ending credits, a character known as the Deku Butler is seen in front of this tree, crying – implying that this tree is his son, and that his son died so Link could transform into the Deku. When Link obtains the Goron mask, it is after hearing the sad tale of the dead Goron hero, Darmani, who died trying to save his people. Darmani was not able to stop Goron Village from freezing over, and his regrets carry over to his death – he ceases to be a ghost so Link can turn into him and hopefully put an end to his pain. Link finds a dying Zora floating in the Great Bay and pushes him to shore, where he tells Link his story, how he was trying to save his girlfriend’s Zora eggs, but couldn’t due to being unable to traverse the now extremely cloudy sea. Link watches him die after hearing his story. He receives the Zora mask, and then proceeds to (in what I’m sure is a series first and last) bury the dead body, and erect a rudimentary gravestone. It is surprising how morbid a Zelda game from the year 2000 on the Nintendo 64 can be, isn’t it?

Speaking of morbidity, the most involved sidequest in the game is particularly heart-wrenching. It takes Link the entirety of the three day cycle to complete it. This sidequest involves reuniting the lovers Kafei and Anju. It appears that the Skull Kid transformed Kafei into a child and later, a thief stole his wedding mask, and Kafei goes into hiding because he promised Anju he would meet her on the day of the carnival with the wedding mask in hand. Link first has to spend a day to locate Kafei for Anju, exchange letters and items between the two for a day, then follow Kafei to the thief’s hideout on the last day to complete a quick set of puzzles to obtain the lost mask for Kafei. Once this is done, there is literally six in-game hours (which translates to roughly six minutes in real time) before the moon crashes into Termina, and Link must go meet the two characters who finally reunite a mere hour before the moon comes crashing down. What is interesting about this sidequest is that while Link can play the Song of Time and escape certain death, Kafei and Anju cannot. They meet up just to be together when they both die. This is certainly touching, in a way, but again, fairly morbid for a Nintendo game.

As the game draws to a close and Link summons the four gods to stop the Skull Kid, the gods prevent the moon from crashing. But Majora’s Mask drops the Skull Kid’s body like a rag doll and enters the moon’s mouth. Link follows the mask into the moon and unexpectedly finds himself in a meadow. It is a huge, sunny, bright green field, populated by butterflies and bright green grass, with a giant tree in the middle on top of a slight hill. Around the tree are running four kids, each wearing one of the four masks Link obtained in the dungeons. When Link talks to them, they tell them they want to play hide and seek and teleport Link to a small dungeon with puzzles based on each of Link’s forms. When they have all been found, the last kid teleports Link to the last boss.

Majora’s Mask itself is fought in a flamboyant rainbow colored room. It has three forms – Majora’s Mask, Majora’s Incarnation, and Majora’s Wrath. Majora’s Mask floats around the room and tries to spin into Link. Majora’s Incarnation flamboyantly dances around the room while making strange, childlike noises. Majora’s Wrath tries to whip Link to death. Each form is fairly easy, both with the ultimate Fierce Deity Mask (obtained by finding all the other masks in the game) and without. When Link finishes off Majora’s Wrath, the game ends, and the fate of the Termina inhabitants is shown (depending, of course, on how many people the player helps and how many masks they got). For the most part, the fate of the characters of this game end up fairly positive, with the possible exception of two: the Deku Butler mentioned earlier, and Link himself.

Link wakes up outside Clock Town, in Termina Field. He sees the Skull Kid, without Majora’s Mask, looking up at the giant gods. The Skull Kid realizes the gods hadn’t forgotten about him and begins crying out of shame for the acts he committed. He then asks Link to be his friend. The Happy Mask Salesman has gotten Majora’s Mask back, and apparently, the evil left it. He asks Link, “Shouldn’t you be heading home, too?” As he walks away, Tatl talks to Link. “Well, both of us have gotten what we were after… So this is where you and I part ways, isn’t it? You know… it was kind of fun. Well, it’s almost time for the carnival to begin… So, why don’t you just leave and go about your business? The rest of us have a carnival to go to.” Pretty cold, for what Link and Tatl have been through together. Link gets on Epona, takes one look at yet another fairy friend he must part with, and rides off. To herself, Tatl quietly thanks Link as he rides away. The carnival starts, and the fate of the rest of the Termina characters is shown. It should be noted that even Tatl notices how Link doesn't really belong in Termina - rather than want him to attend the carnival with everyone, she tells him to leave.

To end the game, the scene showing the Deku Butler crying in front of what is presumably his dead son’s body is shown. Then, the scene shifts back to Link. He is back on Epona, back in the forest he started the game in, and he looks tired again. He rides off, and a tree stump is shown with a drawing of Link, the Skull Kid, Tatl and Tael, and the four giants. “The End” appears on screen, along with a brief ocarina solo of Saria’s Song from Ocarina of Time – probably to imply that Link is lost again, as Saria’s Song is the song of the Lost Woods.

There are more examples to prove my point, but a pattern throughout this article should be apparent by now – that the Legend of Zelda: Majora’s Mask is a game about subverting expectations. Not just about subverting the expectations of Zelda as a series, either, but of video games as a whole. Majora’s Mask is proof that video game sequels do not have to be more of the same. That what is familiar can easily become creepy and unsettling. That saving the world can be personal, too. Although they are enjoyable games in their own right, it’s too bad the Zelda games that have come out since Majora’s Mask haven’t dared to be as unsettling and interesting as Majora’s Mask.