What do you when you’re expected to make a follow up to what is considered to be one of the greatest games ever made? This is the question Nintendo had to answer after Ocarina of Time. The developers must have decided to create something that is familiar and different at the same time because they created The Legend of Zelda: Majora’s Mask. It’s impressive that Majora’s Mask was built largely on Ocarina of Time’s assets, but feels completely different, not only to Ocarina itself, but to all other Zelda games.
The main mechanic that makes Majora’s Mask click (pun intended) is the 3 day cycle and the clockwork schedules of the citizens of Termina, the game’s world. After 3 in-game days, about an hour in real time, the moon crashes into the clock tower, destroying Termina and erasing all the progress you’ve made. You can restart the cycle by playing the Song of Time and that allows you to keep important items and upgrade while losing consumables like rupees, bombs, and arrows.
This mechanic turns a lot of new players away because it adds constant tension to everything you do. A lot of players don’t like being timed and while it is frustrating to have to restart a dungeon or quest because you ran out of time, this mechanic works extremely well. First you can slow the flow of time by playing the Song of Time backwards. Second the game typically has ways to skip parts of dungeons or longer quests if you don’t finish in one cycle. Examples of this would be getting Kafei’s mask to skip talking to his mother and skipping the pirate’s fortress to get to the Great Bay Temple once you learn the tadpoles’ song.
The third reason the 3 day cycle works well is because it makes the world of Termina feel more alive. Unlike other action games, most NPCs in Majora’s Mask don’t just stand in their determined spot. Many walk around, have conversations with other folks, drink at the bar at night, or don’t open their shops until the next morning. Since this game was made for the N64, these schedules are rather limited and rigid, but even a little bit of movement from the characters goes a long way.
The story of Majora’s Mask is not focus on Link or his quest, like it was in Ocarina of Time, but on the world of Termina itself and the character’s who make it up. Termina is just more interesting than Hyrule in Ocarina. It’s more colorful and varied with a surrealist feeling to much of the imagery that helps foster a sense of unease and fascination. The character’s too are more interesting than they are in Ocarina, all live lives of contained sadness and frustration, lost and fear. I wanted to help the characters with their problems, not only for side-questing to acquire upgrades, but also to see where their story goes and what help, if any, I could provide them. This extends to the main antagonist, Skull Kid. I’ve always been interested in villains who are basically children that are granted unimaginable power and don’t know what to do with it. That’s why I find Porky from the Mother games and Tetsuo from Akira so compelling. Skull Kid being corrupted by the power of Majora’s Mask and crashing the moon into Termina fits the bill. He’s more sympathetic than Ganondorf in Ocarina because he’s just a lonely child that wanted friends.
In the beginning of the game, Skull Kid transforms Link into a Deku scrub, leading to him acquiring his first transformation mask, another new mechanic in Majora’s Mask. Link will acquire three masks in the game that transform him into a race from the Zelda series and grant him new abilities. The aforementioned Deku mask lets him shoot bubbles for an early ranged attack, skip short distances across water, and use launch flowers to shoot into the air and hoover across gaps. The Goron mask makes him hit harder and gives him a very fast rolling ability while the Zora mask grants Link the power to swim and attack underwater. These masks cut down on many dungeon specific items that where throughout the end half of Ocarina of Time because many of the uses for those are now rolled into the transformation masks. For example: the hammer needed to press heavy buttons is done with the extra weight of the Goron and the blue tunic and iron boots needed for the Water Temple are gone in favor of actual swimming as the Zora.
Majora’s Mask contains only four main dungeons, one of the lowest amounts for the series, but, much like Breath of the Wild, gaining entrance to the dungeons is a part of the puzzle. Every dungeon has a small section or side quest that has to be completed to learn a song to enter. Be it stealthily infiltrating a Deku castle or saving Zora eggs from pirates, the dungeons are only half of solving each areas infliction.
That being said, however, the dungeons in Majora’s Mask might be the strongest in any Zelda game I’ve played. Woodfall is the perfect beginning dungeon with a pitch perfect balance of puzzles, rewards, and progression. Snowhead and the Great Bay Temple are both rather vertical in nature and require the use of the Goron and Zora masks respectively. The game culminates in the Stone Tower Temple which might be one of the most interesting and fun Zelda dungeons. The two central mechanic for Stone Tower is the use of the light arrows and flipping the dungeon upside-down to walk on the ceiling. The dungeons aren’t perfect, of course, and do have their moments of frustration. Falling down Snowhead leads to a long climb back up before getting the fire arrows, backtracking through the Great Bay Temple can be tedious do to clunky swimming controls, and having to flip Stone Tower no less than 3 times get all the fairies takes forever.
There are issues with Majora’s Mask and a lot of them stemmed from playing the game in a post-Breath of the Wild world. While that game felt fluid and smooth, Majora’s Mask feels very clunky at times. Watching a short cutscene every time Link transforms or travels through time becomes grating, even if you can quickly skip them. The main action button being contextual can lead to frustrating moments where you keep rolling into a block you mean to grab or grabbing a block you mean to climb. This also the Zelda game that made me realize how boring combat is in the games. I spent the time with the sword master learning the vertical, horizontal, and jumping slashes only to spam attacks when faced against an enemy. Even the final boss, Majora’s Mask and its multiple forms, was so mindless after acquiring the Fierce Deity’s mask that I had wished I had gotten it.
Majora’s Mask has a lot of little issues, but a lot of little issues can mount up to big problems. Luckily, the game’s issues ever resulted in more than mild frustrated. The game is engaging. With its emphasis on the world and its people, limiting dungeons and items to focus on side quests and transformations, and its overall surreal and creepy tone, Majora’s Mask isn’t just an extremely interesting Legend of Zelda game, but an extremely interesting game in general.