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“YOU DIED”: despair and transcendence in “Dark Souls.”
In my analysis of the notorious "Dark Souls," I argue that the game is frustrating and rewarding for exactly the same reason.
In my analysis of the notorious "Dark Souls," I argue that the game is frustrating and rewarding for exactly the same reason.
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.
In this piece, I analyze Skull Kid as a character, and question whether he ought to be forgiven for his actions.
I apply the theory developed over the course of the series thus far in an analysis of the iconic line, "You've met with a terrible fate, haven't you?"
Discussing a Happy New Year, and analyzing the Happy Mask Salesman.
Given the analysis I have offered of the Song of Healing, how can we account for the fact that Link cannot use the song to heal Skull Kid / Majora?
In the first of three posts about the Song of Healing, I argue that Deku Link offers us unique insight into video games as an aesthetic object.
"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.