I play my own "Song of Time" by offering the first of my analyses of "Majora's Mask," which came years before "With a Terrible Fate."
The payoff for the Salesman's last words, and the place they establish for the player in Termina and beyond, might be bigger than you expect.
A close look at a character who lives by the clock, in a world that lives by the clock.
"Majora's Mask" contains a thesis on how groups are marginalized by society. Here, I argue that the ease with which one can miss this game element is precisely what makes its content so impactful.
"Majora's Mask" is exceptional because it offers the most meaningful and ontologically logical sidequests possible of a game.
We can easily write off the disturbing undercurrent of "Majora" as a result of aesthetics, but in this post, I want to offer an argument that the horror which pervades the game is much more subtle and existential than that interpretation. I submit that the ultimate reason "Majora's Mask" continues to terrify us is that, as much as we want there to exist an evil for us to conquer, there ultimately exists no evil in the game.