ZI: A few years ago, Hylian Dan published an article analyzing various elements of Majora’s Mask. It took some very crucial and curious elements from the game – especially motifs from the Stone Tower Temple – and considered some themes of the game before drawing conclusions about what exactly the designers of the game were trying to say. The author draws some very interesting conclusions and notices very peculiar things about the game that I did not notice until I read his article. His conclusions are optimistic (and the game does not necessarily discourage optimism) and well-intended. The author even draws (loosely) on Feminist and Freudian theories when making observations and analyses.
Another article written by Gerald Sword takes a look at Majora’s Mask through the lens of Nietzchian nihilism (try saying that five times fast). The article proposes that Termina is a hopeless land, the Terminians a hopeless people, and paints Link as a character struggling with early modernistic existential angst. Other theories float around the Zelda fan community include the “Link is dead” theory (sometimes coupled with the idea that Termina is a kind of purgatory), a theory that views the game through the lens of structuralism, and the well-known theory that maps the five stages of grief onto Terminian geography.
Now, these theories are entertaining and insightful into the problems and issues addressed in Majora’s Mask and their authors give a fair shot at analyzing the game. I’m not trying to bash their theories. However, I would like to point something out before throwing another analysis out into the fan community to think about and mull over. Does anyone see the connection between all of the theories I mentioned above? They all come from Europe or America (let’s just say “from the West”) and they all rely on ideas that are less than 200 years old.