"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.
In this post, I explore what about "Majora's Mask" and the world of Termina makes death more imminent and haunting than any other "Zelda" title could.
In the game entitled "Legend of Zelda: Majora's Mask," Zelda does not exist. It is this anomaly and its effects that I chart in this post.
In this post, I argue that music is a prime example of how "Majora" is simultaneously familiar and terrifyingly different from the rest of the "Zelda" canon: it takes the significance of sound to a whole new level in game design.
"Majora's Mask" is exceptional because it offers the most meaningful and ontologically logical sidequests possible of a game.