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Three months after his epic
journey in Ocarina of Time, Link is riding through the Hyrulian
forest with Epona. Out of nowhere, Skull Kid appears! Wearing a
strange mask and with two fairies in tow, he
uncharacteristically attacks Link, stealing Epona in the
process. One hot pursuit later and Link loses the escapees, and
finds himself in a part of the forest he'd never before seen.
Investigating, he falls into a portal of some kind - emerging in
an alien world that is on the brink of destruction. Somehow, he
has to save the world from Skull Kid and the Moon in just three
days. Or so it would initially seem...
While Majora's Mask was the first Zelda game
since The Adventure of Link where Miyamoto took a back seat, leaving
directional duties to Ocarina veteran Eiji Aonuma, it was also the first Zelda
to really break free of the series mould that had been slowly
shaped over time. The controls are identical to those found in
Ocarina of Time, as the game reuses its engine. For
returning players, the game starts off harder than OoT, but
overall, it is the easier and shorter game. The combat has been
slightly improved; the new long-range Z-Targeting
lends itself to the more epic bosses on display. The bosses are
a real treat, with the spastic tribality of Odolwa sending
shivers down your spine, to the exhausting slog of Gyorg, to the
easy but exhilarating race against Goht. There's a great variety
and, thanks to transformation masks, a lot of originality.
These bosses can be replayed thanks to the revolutionary
time-travel system. The world really does end in three in-game
days, so the developers have given you a few weapons at your
disposal, coming by way of manipulation of time through the Song of Time. You
can use it normally to save your game and go back to the start
of the first day, or play each note twice to skip forward 12
hours. You can also play it backwards to slow time, and this
is useful when trying to complete the tricky dungeons.
Going back to the first day will remove replenishable items like Deku Nuts
from your inventory, but you'll keep main weapons like the Hookshot. Also,
all dungeons and events will reset, meaning if you're trying to
complete an entry in the Bomber's Notebook, you'll have to do it
all in one three-day period.
The Bomber's Notebook is one of the best things about the
three-day cycle. It is your method of recording the lives of the
Termina residents, as they each have pre-set activities and
routes which you can alter in a Groundhog Day fashion to gain items. The amount of
different lives and their interconnectivity weaves a truly rich
experience as you involve yourself within them. As each day
passes, residents get more worried about the impending threat of
the moon; some retreat, some stubbornly stay, but without you,
they will all die. Seeing the different ways residents have of
coping, and then warping back to the safety of Day 1, where the
carpenters are still preparing for the carnival, strange
children in Keaton Masks are casually collecting the mail, and
the general naivety to the sombre sobriety of Day 3, is
a truly emotional experience.
The last real innovation of Majora's Mask is the mask system.
There's a whole sub-screen devoted to your collection, and as
you make progress through the game and through the lives of its
residents, you'll fill that collection. Some have useful
abilities, some are used during quests, but some actually
transform you. The dungeons are based around the unique
abilities of these masks,
as they enable you to become a Deku Scrub, a Zora, or a Goron,
and these grant you abilities such as swimming acrobatically
through water, being able to thunder across the landscape, or
glide from platform to platform. It opens up new puzzles and new
possibilities in ways that would have simply been impossible had
they restricted you to the moveset of Link and Epona.
Aonuma's fresh vision for the series saw the
game take a darker, more twisted tone than any of the five games
before it. It fits into the apocalyptical theme of the game, but
it also creates a worthy mirror to Hyrule. That so many of the
characters look the same, but act differently, and that the
enemies act the same, but look differently, reinforces feelings
of alienation - this could be your home, but it isn't. Link is
forever on another level, apart from the residents who's lives
he can never fully be a part of, like an invisible angel who
puts right so many wrongs, and then silently returns to his
heaven of Hyrule. Technically, there are many shortcomings, such
as the cardboard forests that border Termina, but there are also some triumphs, like
the deformation of Anju's flowing skirt as she walks, or the
intricate detail of Stone Tower's face.
The music in Majora's Mask is
fantastic, beautifully composed. It's silent when it needs to
be, unnerving, powerful, though it can also be upbeat, dangerous
or inspiring. It seems to always reflect the mood perfectly.
Also, the overworld theme is a remix of the classic Legend of
Zelda theme tune, which makes a welcome return.
Thanks to the three-day system, stylised
graphics, and moody sound, Majora's Mask is the most atmospheric
and immersive Zelda experience to date. Little touches, like the
way waves lap onto the shore, how the sunset bathes the land in a
golden glow, or the nuances of controlling a Zora, make this
game as special as it is. These are packed around a strong
story, solid play mechanics and endearing characters to create
an incredibly lucid experience.
While many aspects of the game were "merely"
evolutionary, as opposed to the revolution of Ocarina of Time,
this game just gives so much of itself to the series in ways
that The Wind Waker does not, that its hard to give it any less
than perfect marks. The
masks, the three-day
system, and other
elements like
search-quests within
dungeons, all create
mechanics that need to
be expanded in a sequel one day.
The one thing stopping this game from
getting perfect marks is its length and ease. In all other
respects it is a AAA title, but not one that has you
scratching your head too often.
|
Gameplay |
10 |
Overall
9 |
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Graphics |
8 |
|
Sounds |
9 |
|
Atmosphere |
10 |
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Contribution |
10 |
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One word: Genius. Even
though Miyamoto was
fairly hands-off, the
developers did a
fantastic job here.
There were several key
introductions in this
game: the near-perfectly
balanced mask system (I
doubt OoA and OoS would
feature a ring system if
it weren't for this),
the brilliant 3-day
rotational process (that
alone upped
replayability ten-fold),
the integral character
interaction (something
that may modern RPGs
unfortunately lack), the
perfected version of
OoT's terrific menu
interfaces… the list
goes on and on. The
combat only improves
(but only slightly) over
OoT's with more
strategic bosses. The
combat is even better,
with Link's four other
forms (Deku, Zora, Goron
and… secret…), making
combat a joy when you
first get these masks,
and, even better, they
add to the mass variety
of ways to kill that
damn Octorok. There are
other masks that also
affect combat, as well
as regular skills and
several other things,
making the game that
much more playable, and
adding a superior depth
OoT tried for but failed
at. These masks also
work into retrieving
Heart Pieces, more
masks, and many other
things. The
possibilities are nearly
endless. And when it
comes to the 3-day
rotational process… wow.
It realizes everyone's
dream of being able to
redo something in a
game, but at a cost, so
that it's not used
frivolously. It also
factors into puzzles,
much like LttP's Dark
World did, to an extreme
not yet seen on 64-bit
consoles.
Fantastic, easily the
best I've seen on the
N64. Plus, Link has a
shoulder belt for his
sword. He longer uses
some sort of invisible
Velcro to hold his
sword's sheath on his
back. There's not much
to say here, though.
It's not a huge leap
over OoT, but still
better. That's about it.
This category can be
integral to a game
working, but MM does it
better than any other
Zelda game yet released,
so no worries. Yet
another advantage to
having used the
Expansion Pack to make
this game, the music
works perfectly every
place you go, and just
makes you feel like
you're there, which is
what it should do.
You'll find yourself
humming the background
songs consistently after
playing this game. And
the sound effects are
also good. Everything
sounds like it should,
and it sounds good, too.
Plus, the bosses all
sound fantastic. From
Odolwa's eerie musings
to Goht's furious
raging, these bosses are
pissed, and they make
sure you know it.
Unlike OoT's more
light-hearted (at first)
atmosphere, this thing's
dark and brooding from
the beginning, and it
shows a more vengeful
side of Link that really
shows how his life's
events have affected
him. Plus, the haunting
feeling of taking the
boss's face with you is
just downright creepy.
Again, the music comes
into play here and it
works damn well. For an
Action-RPG based on the
primary story of "rescue
the princess," it's come
a long way, and it's
finally giving up the
goods you always wanted.
Like I said in Gameplay,
the list goes on and on.
The mask system, the
ultimate replayability
of the 3-day rotation,
the puzzles that require
firm knowledge of both,
the integral character
interaction, and let's
not forget that brooding
atmosphere. Tons of
contribution here.
This is Zelda at its
absolute finest, no "if"s,
"and"s, "but"s, or "maybe"s.
It is the properly
evolved form of OoT,
succeeding to do what
OoT didn't and adding to
the Legend that much
more. To this, I give a
10.
10 |
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