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?
What can Deku Link teach us about the nature of gaming? Part I of III examining the Song of Healing.
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.
"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.