Note: I’m not going to be worrying about avoiding spoilers in this review; I won’t be laying the whole game out in front of you, but I will be going into detail about things like boss fights and certain sidequests, so if you want to avoid that kind of thing, be warned.
The Legend of Zelda: Majora’s Mask 3D is
a misguided remake of a brilliant video game. While the core experience is
still something truly special, this new “3D” version has gotten what some might
call the “George Lucas” treatment. From Link’s first steps in the Lost Woods
and onward throughout the entire experience until the game’s surreal and
memorable conclusion, MM3D is riddled
with changes, alterations, and adjustments from the original Nintendo 64 classic,
some of which nicely streamline the experience, while most, unfortunately, bog
down the experience. These changes include several head-scratching alterations
to how the game plays, overhauls of every boss battle, and several new hand-holding
elements that damage the subtle design of the original and often did a nice job
of breaking my immersion throughout my playthrough. What resulted was a very
mixed experience for me: the essential Majora’s
Mask experience is still buried in this remake underneath all the “enhancements”
(big sarcastic airquotes here) and this game still emotionally moved me just as
the original Majora’s Mask always
has, but for every ten steps of supreme immersion and enjoyment I had, there’d
be another two or three that made me shake my head and wish I was just playing
the original game.
If I
was going to sit here and lay out everything that makes Majora’s Mask such a triumph and
address my extensive feelings on the many changes in this remake, this
review would end up being twice as long as my Paper Mario: Sticker Star review, and no one wants that. Instead,
I’ll save my extended thoughts on the heart of Majora’s Mask for another time or another several times (probably
another several times). Thus, most of this review is going to focus on the
changes and alterations from the original. But before getting into that, I do
want to say a few words about the
core experience here, as I’d be remiss if I did not. By and large, MM3D is still Majora’s Mask. It has a new coat of paint (with a lot of cracks)
but this experience still thrilled me, moved me to near tears, and engrossed me
just as it always has. Every time I play Majora’s
Mask, I get something different out of the experience. This time, the
loneliness of Link’s quest really sunk in…at least at first. Getting to know a
bunch of interesting characters, helping them, helping the world at large, and
then having to undo all of it so those people not only have no idea who I am
anymore, but are also once again faced with the same hardships is
heartbreaking. But as my adventure wore on, and more and more of the complete
picture of the land of Termina and its troubled people became clear to me, it
began to feel like home and its citizens inevitably began to feel like family,
just as always. Even though they often didn’t know me very well, I knew them
intimately. So, after so many cycles of the same three days, by the time I raced
up those clock tower stairs to try to finally put an end to all the madness, I
cared about saving this world like it was my own home, just like I always do.
The world in Majora’s Mask, despite
being built fifteen years ago in about a single year on primitive hardware, and
despite having numerous nonsensical elements, feels more real than any other world
in any other video game I’ve ever played. The genius of the three-day system,
the falling moon scenario, and all the events that make up the adventure is astounding;
it’s a wonder not only how the original developers were able to achieve what
they did in such a short time so long ago, but also that no one has really done
anything like it since. But beyond this, it’s all the details that make MM so incredible: an extra line of
dialogue from a simple shopkeeper that addresses the state of the world,
countless hidden reactions based on the many masks in the game, a random bird
that drops rupees if you play music for it, countless mysteries and strange
scenarios, and some of the most emotional moments in any video game I’ve ever
played coming from completely optional, hidden conversations or even just from
a single line of dialogue. All this makes Majora’s
Mask not only a cut above most other Zelda
games for me, but most other adventure games in general. Despite thoroughly
playing through the original game multiple times over the years, I’m still
discovering moments I don’t think I’ve ever seen or experienced before, and I
know there are others still. Majora’s Mask
is a game of many faces (pun fully intended) and many experiences, and no two people’s
will be quite the same. MM might be
one of the most tense, nerve-wracking games I’ve ever played, but it’s also one
of the chillest: just hanging out and getting to know NPCs, watching the rain
fall at Romani Ranch or a fireplace crackle in the Stock Pot Inn. It’s an
experience that shifts and surprises from moment to moment and all of it is
special. But that’s the core experience. All of that applies to the original as
well as this remake. Majora’s Mask 3D,
however, wears a new mask over all of that.
Let’s
get the most apparent change out of the way first: obviously the title has
received a visual overhaul and for the most part, it looks quite nice. The most
notable aspect of the cosmetic change is how many new little details were added
to the world at large, not only in terms of textures and models, but in regards
to physical architecture and new objects and other elements brought into
Termina. New posters, flyers, and newspaper clippings posted around Clock Town
add flavor to the world and make a lot more sense in a big town in the midst of
carnival season than these elements did in The Legend of Zelda: Ocarina of Time 3D. Interesting new landmarks have been added everywhere: a
miniature model of Clock Town in the Mayor’s office, an ostentatious painting
of a young Mayor Dotour and Madame Aroma hanging above the front desk of said
office, new statues and other artifacts in the dungeons, and just overall a
world full of even more detail and small touches that make everything feel
lived in and alive. My favorite of all of these new touches though has to be
the interesting family pictographs that can be seen in Anju’s grandmother’s
room and in the Romani Sisters’ bedroom. These pictures are an excellent and smart detail that fleshes out
a world I already know so intimately even more, and I love seeing these new
kinds of details in a remake like this.
Obviously, the game looks better in
a “technical sense”: better textures, smoother models and animations, higher
framerate and so on (and as in OoT3D,
the 3D effect is pretty great too), and some aspects really benefit from the
new visuals, such as the sky (not sure how I feel about the new green-tinged
purple sky on the third day though, which reminds me of an Easter egg or
something), but that’s not the whole story. On such a small screen, often the
experience can look a little fuzzy and jaggy, which is especially noticeable
when talking to NPCs. Also there seems to be some truly unfortunate camera work
sometimes, such as trying to talk to an NPC only to have the camera decide to
take up position behind a giant plant, blocking the player’s view (this kind of
thing is especially irritating with the 3D turned up). In addition, many of the
character animations, while mostly smoother-looking, often just don’t feel as
special as the original’s, either because they are too quick or not as
emphasized as they originally were. These are nitpicks, but much more
questionable are the artistic changes made in this remake. Everything is a
little too bright and the lighting seems to be a lot flatter and less atmospheric
than in the original. This is especially noticeable inside dungeons, during
nighttime, and also anytime when Link is near torchlight, which flickers and
dances about the environment in a more impactful way in the original. There are
subtle artistic differences all over the place, but most notable of all is the
change to perhaps the most important visual motif in the game: the moon. The
moon’s expression in the remake is basically straight-up maniacal, as opposed
to the more subtle, ambiguous expression of the original moon (which looks more
sad and disturbed than particularly “evil” or “angry” to me, but it was open to
interpretation really). This new face can be quite frightening, especially on
the final day when it’s leering directly above Link, but it can also be seen as
too comically over the top, depending on how you look at it. At least one scene
that loses part of its value in the remake due to the moon’s revamped design is
when the “Moon’s Tear” falls from its eye; in the original, the moon looked
like it could indeed be crying or was in pain (which had interesting
implications), while in the remake the scene doesn’t even make sense anymore really.
I think that the moon’s expression being one of sadness, or perhaps of regret
or remorse, suits the world and its events much better, but no matter how you
interpreted the original moon’s expression, its demented ambiguity enhanced the
subtle, strange narrative and surreal atmosphere of the game. It's worth noting that the art in the remake still overall looks very good, there are just a number of subtleties that make me mainly prefer the art in the original. As one final note
about the retouched visuals and art, some very interesting visual details
present in the original game were actually completely removed from this new
version for some reason; I think all the Zelda
theorists out there will know exactly what I’m referring to here.
MM3D mostly looks great, though the art has taken some hits |
It’s
difficult to know where to start with the rest of the changes in the game, so I
suppose I’ll start at the beginning, with the very first change I encountered,
one that made me quite literally bury my face in my palm. Here I was, watching
the beautiful and haunting opening scene of Link solemnly riding Epona through
the Lost Woods, having a good time and thinking about how this remake was
perhaps a good idea after all, and then, BAM! Big dumb tutorial sign. Right in
the middle of the path. “You may already know this…”, the sign read, and then
proceeded to tell me the basic controls of the game for the small price of
shattering my immersion. This was not a good omen for the changes to come. This
new trend of shoehorning out-of-place elements into the experience that
sacrifice immersion for feeding the player information in an effort to hold
their hand is something I encountered throughout my time with MM3D, and all of it was to the detriment
of the experience. Another example is some new text added to the “bad ending”
of the game if you let the moon fall. Effective, stark minimalism is a strength
of the original MM that has been repeatedly
stomped on in the remake. My 3D journey through Termina was repeatedly
interrupted by too much extraneous information, and this is a perfect lead-in
to the next big change I want to discuss: the new Bombers’ Notebook.
In the
original, the Bombers’ Notebook was simply a way of keeping track of the particular
NPCs in the game that had detailed schedules across the three days. The
notebook has been completely overhauled in the remake, however, to now be a
record of just about every single sidequest and hidden event in the game, with
mixed results. On the one hand, I like how the notebook acts as a comprehensive
adventure log to refer to and a way to look back on and keep track of your
progress in the game. It also feels really satisfying when an entry in the
notebook is “stamped” after you fully complete a certain character’s
quest-line. The notebook itself is set up nicely into two separate sections,
one being an NPC schedule that is nearly identical to the original notebook
(except it now removes a few NPCs that were there in the original and adds a
handful of new ones), and the other being a list of quests that are separated into
“ongoing”, “rumored”, and “completed” in an easy to follow manner. In a game
with such a large amount of things to do and discover, where it all risks being
overwhelming, it’s nice to be able to concisely keep track of everything.
There’s also a clever new “alarm” feature, where you can have your fairy
companion, Tatl, remind you that you have something important to do at a
certain time.
On
the other hand, the notebook is very intrusive on several levels. It’s
annoying how the experience is interrupted so often for something to be added
to the notebook and this process always seems to take way longer than it
should. Instead of wrenching control away from the player to sluggishly record
the information I just heard in the notebook, perhaps this remake could have
taken a page from the smartly-designed mega-JRPG Xenoblade Chronicles (and hey even the original Majora’s Mask, why not?) and instead
just had a subtle notification at the bottom of the screen and perhaps only
given the full “notebook screen” treatment when first starting a quest and
ending one. On that note, I’d also appreciate it if that ending notebook update
came after I received the reward for
a quest instead of before I get that
piece of heart, mask, or whatever else. Oh, I got the “Stone Mask” as a reward?
Well, gee whiz, magical notebook, thanks for spoiling the surprise. This
immersion-hampering notebook is especially heinous after finally reuniting Anju
and Kafei, when immediately after the big scene the game jarringly goes to the
notebook screen to slowly update things with some unnecessary text before going
back to the game, which really took me out of the experience; I was quite
literally almost in tears before becoming incredibly annoyed. I like that
satisfying stamp at the end of a quest, but it’s not worth this slow, intrusive
process.
The Bombers' Notebook is an entirely different beast in the remake |
The gang of Bomber kids around
Clock Town are given a bit more usefulness as they now give the player hints
for rumored quests, but these hints range from subtle enough to not bother me
too much to giving away way too much information. Sometimes the kids themselves
give a vague hint, and your seemingly magic, sentient notebook fills in the
rest, telling you a specific location to go to. I hate this disconnect; it
should be as though Link is writing the information in the notebook himself, or
at least the notebook should only record information that Link actually
encounters. Instead, the magic notebook (with its new wordy descriptions that
sometimes seem out of tone with the rest of the game) just makes the experience
feel more artificial. Sometimes the Bombers’ hints are just way too obvious and
ruin the whole purpose of wearing certain masks (like Kafei’s Mask and the Mask
of Truth) to discover hints on one’s own.
In a nutshell, instead of being a
helpful supplemental tool, the notebook now pushes the quests and hidden things
in the game down the player’s throat, which goes a long way in diminishing the
magic. It’s more exciting and interesting when I feel like I’ve found something
really neat on my own that other players may have never discovered, like say
following the town Business Scrub down into an underground cavern, and being
rewarded for my discovery, than witnessing the same event and having the game
make a big deal out of it and making it seem like a major part of the game that
every player will likely be directed to. Despite the positive elements of the
new, more detailed notebook, its intrusive nature makes me much prefer the more
subtle record-keeping of the original notebook combined with other subtle hints
already present in the fabric of the original game. These original hints are
still present in the remake; the difference is that the player has to work for
these by exploring and talking to NPCs and observing their routines, and by finding
the Mask of Truth and using it to gather information from gossip stones. It
feels better to piece everything together and make discoveries this way,
instead of being led by the nose and advised that ‘you’d better do all this
extra stuff because the developers worked really hard on it’. Unfortunately, with
the new Bombers’ Notebook’s intrusions being completely mandatory and with the
way the Bombers annoyingly rush towards Link to feed him hints whenever the
player happens to go near them, the remake makes it very difficult to play the
game by solely relying on the older, subtler method of hinting. And this is all
on top of the returning, hint-giving “Sheikah Stone” that was first introduced
in Ocarina of Time 3D (which is
luckily very easy to ignore in MM3D
and tucked away in a place that many players will likely never visit more than
once during their quest; hopefully most players will just forget about the
stupid thing).
Not too much information, I hope |
The new handholding elements are
not that surprising to me given Nintendo’s modern game design credo; what is surprising to me though is how much
of the core gameplay was messed around with. A huge part of the Majora’s Mask experience is obviously
the masks, and more specifically the three transformation masks that allow Link
to turn into a Deku Scrub, Goron, and Zora. Alterations have been made to the
way all of these forms play, which range from “ok, that’s pretty cool” to “oh, Goddesses, what did they do to the
amazing swimming mechanics???” Ahem. The new Deku Link is pretty much an
even split in terms of bad and good: it controls a lot more sluggishly than in
the original and oddly stutters when it starts to walk which really screwed me
up when hopping across the water, and its spin attack seems to have less
momentum and feels less fluid and fun to use. However, firing bubbles with the
Deku is much easier thanks to a new crosshair and the game’s gyro controls
(which overall work nice; I just wish they weren’t almost mandatory in some
sections since aiming with the circle pad on its own is so dang sluggish, much
slower than in the original). There is also a new option to look directly
beneath Link when floating with the Deku, complete with a target that lets the
player know exactly where they’ll land, which is a very helpful addition. Goron Link generally feels better to walk around with and his attacking prowess
has been greatly improved, now with much faster and more effective punches. I’m
not as much of a fan, however, of how rolling around with Goron Link now requires
one tap of the ‘A’ button to get into ball form and another tap to get out. I
presume this was changed so players don’t have to worry about holding down the ‘A’
button when rolling anymore, but personally it really tripped me up for a good
while before I finally got used to it, and even then I still prefer the much
quicker and more instant feeling the original control setup had. But the real
topic of conversation here is the doozy they did on Zora Link.
If you’ve played the original Majora’s Mask, I’m guessing you probably
had fun swimming around as Zora Link, speeding through the water, doing that
dolphin jump, etc. I’m making an assumption here, I know, but in truth I’ve
only ever heard praise for the swimming mechanics in the original; in fact, the
original Majora’s Mask probably has my
favorite swimming mechanics in any video game ever. So of course, the remake’s
developers decided to “fix” this too (and by fix, I of course mean “break”). In
the remake, the default swim speed for Zora Link is now much slower (and
similar to the Zora Armor in The Legend of Zelda: Twilight Princess) and
the quicker speed of the original (or something close to it) has been quite negligently tied to the magic
meter and combined with the magic shield attack which was present in the
original (with both now being activated simultaneously by holding down the ‘R’
trigger). Once you very rapidly deplete your magic meter, no more having fun as
Zora Link, I’m afraid. And if you don’t have the magic meter upgrade? You’re in
for a very slow journey around the Great Bay. Now, before I get into what is so
wrong with this change, I will say that I don’t mind having a new moderate swim
speed in-between the really slow “doggy paddle” and the fast speed. It did come
in handy when I wanted to navigate some tight underwater corridors in the game,
and also when I just wanted to take things at a measured pace and look around,
and didn’t feel like walking on the bottom. This moderate speed certainly isn’t
worth sacrificing an unlimited fast speed, however, and if they were going to
incorporate this new slower speed, there are definitely smarter ways they could
have gone about it. How about simply requiring the player to hold down a
separate button that is unused while swimming to swim more slowly? Or maybe
players could tap ‘A’ once to go slow and hold it down to go fast (which might
still be a little cumbersome, but would at least be better)? Or at the very
least, still allow the player to swim fast when their magic is depleted
(instead of just giving them a pathetic little momentary dash) and just take
away the magic shield (which, by the way, would make a lot more sense). Besides
souring one of the funnest aspects of the original MM gameplay-wise, what really grinds my gears about this change is
how much it just doesn’t fit with the overall design of the game (this is another
unfortunate trend in this remake that I’ll also talk more about when I get to
the boss changes). The Great Bay region is full of huge, open underwater areas
designed around the ability to swim fast as a Zora (with the ability to walk on
the bottom being helpful for the few tighter underwater areas). The Pinnacle
Rock area in particular is such a chore now because it involves navigating a massive
underwater pit with this new clunky, stifled swimming mechanic. It is so
annoying swimming fast in short spurts in order to conserve my magic shield,
which comes in handy when defeating the gigantic sea snakes in this area. Also,
might I remind you that conserving time is hugely important in Majora’s Mask? And how making a slow
swimming speed the default and a fast swimming speed limited in this game makes
absolutely zero sense and is incredibly frustrating? I really hate to rip off
the “Angry Video Game Nerd” here (plenty have done that already), but
seriously, what were they thinking? I
should also mention that even when going fast, Zora Link just isn’t as fun or
as easy to control with the 3DS’s circle pad as an analog stick, and rolling
Goron Link can also be a pain in the ass in this regard as well (especially
during the Goron moon dungeon at the end of the game).
What were they thinking?! |
While on the subject of the aquatic
portion of Majora’s Mask, I also need
to bring up the way this remake ruins the fun of one of the neatest items in
the game (I mean, besides the Zora Mask, of course): the ice arrows. The
original Majora’s Mask took the ice
arrows, a relatively useless (not to mention completely optional) item in The Legend of Zelda: Ocarina of Time, and put a clever spin
on them that led to not only some neat little puzzles in the Great Bay Temple
but just a fun new toy to play around with. Basically, in the original game,
you can fire the ice arrows at almost any body of water to freeze it and create
ice platforms to hop around on. As long as you have the arrows and the magic,
you can do this as much as you want. Sounds fun, doesn’t it? Well, it was. Apparently, the developers of this
remake just really didn’t seem to want the player to have too much freedom or
fun because they decided to “fix” this element too. Now, instead of being able
to freeze the water and make platforms anywhere, specific, nonsensical “sparkle
spots” (I can’t think of any other way to describe them) in the water are the
only places you can create ice platforms (although bizarrely enough, you can
actually make platforms in the water anywhere in the Great Bay Temple boss,
Gyorg’s chamber; but this one room is the only exception). Oh, and these spots
only appear in a handful of rooms in the Great Bay Temple and nowhere else. In
the original game, certain monsters could also be frozen to create stepping blocks
of ice, and yup, those monsters now sparkle too, making everything just a bit
too obvious (to understate it). When the players gets the ice arrows in MM3D, the game tells them that they can
fire the arrows at sparkling things to freeze them. This makes the following
puzzle, where one needs to freeze an octorok to reach a high platform,
completely rote now. This makes all
of the puzzles surrounding the ice arrows completely rote now. The ice arrows
aren’t a fun item to play around with in the remake: they’re a banal key used
to unlock progress. What was once a cool puzzle element in the original Great
Bay Temple is now just mindless target-shooting. Suffice it to say, the fun of
the ice arrows in the original game is all about freedom and experimentation.
The remake’s developers completely missed the point here and it’s just another
way this remake is overall less enjoyable to play. I think the worst thing about
this change is that whereas I can maybe see some reasoning behind slower Zora
swimming being “easier to control” (which, again, doesn’t excuse the poor
implementation of that concept), I can’t think of any logical reasoning behind
the ice arrow change, besides just over-simplifying things. But was the ability
to create ice platforms anywhere really just too much overwhelming power for
players? Did the people testing the remake really just get overwhelmed with
confusion when they realized they had this kind of mind-blowing freedom? I
mean, really? Was it really that complicated?
I’ve brought it up a few times
already, but one of the bigger changes in this remake comes in the form of drastic
alterations made to every boss fight (barring the final one, though even that
one may have been altered a bit by way of having less attacks). All of the
bosses look relatively the same and while Link’s battles with them share
elements in common with the fights from the original game, each one has been
greatly shaken up, some more drastically than others. I’ve already seen online
that these new boss battles are polarizing, with some people loving the
changes, others hating them, and many others liking some changes and disliking
others. For me personally, the new bosses are almost entirely a step down
(surprising, I know). Something I love about the boss fights in the original Majora’s Mask, and why they stand out
from other 3D Zelda games, is that
they are all very energetic and fast-paced. All of the bosses have multiple ways
of going about defeating them (which is something the remake does retain at
least) and the majority of them don’t have giant obvious weak-points. They also
aren’t quite the basic “stun them with the item, go in for the attack” formula
(most of the bosses still somewhat fall into this, yes, but I just mean to say
they aren’t quite as formulaic as in
most other 3D Zelda titles). Well, Majora’s Mask 3D has something to say
about that! The majority of the bosses not only now do fall into a very stale and repetitive formula, but also every
single one (again, barring the final one) now has a giant eyeball weak-point
that you will frequently be pelting with arrows, over and over and over again.
Many of the bosses have also been dumbed down in terms of their number of
attacks and ferocity. The first boss, Odolwa, for example, doesn't mess around in
the original: he is a force of nature, dancing and chanting around the arena,
slicing his gigantic sword in every direction, summoning swarms of bugs and
moths, and even conjuring up rings of fire to entrap Link. In the remake,
Odolwa just kind of…stands around, before clearly telegraphing all of his attacks
(which he has less of). The only good part about the new Odolwa is that Deku
Link is actually useful in the fight this time around. My favorite regular boss
fight in the original game, Goht, is now an awkward, tedious affair in the remake thanks to Goron Link
having to slow down to punch its eyeball or, even worse, requiring the player
to occasionally (and in my experience, more often) remove the Goron Mask to
slowly lob arrows at the eyeball. In the original game, if you are good
enough, you can do the entire Goht fight without ever having to stop rolling
as Goron Link. It's a blast in the original; it’s a chore in the remake.
Shooting arrows at a giant eyeball in a Zelda game: how novel |
While the first two regular bosses
were certainly changed up, the latter two are basically entirely new battles,
Twinmold especially. Gyorg the giant fish now has two very different phases,
the first of which is a dull, toned-down version of the original fight. Here,
the remake’s brighter and flatter lighting really works to the detriment of the
experience and goes a long way in dulling the tense and foreboding atmosphere
of the original fight; Gyorg itself is responsible for most of this decrease in
tension though, as in the first phase it’s basically just a giant, stupid
moving target for Link’s arrows. The second phase of the fight takes things
completely underwater, which isn’t nearly as terrifying as it should be. The
second phase is fun, certainly more interesting than the first half of the
battle, but ultimately it all boils down to a new twist on the very stale rinse
and repeat “bomb in the mouth” gig we’ve seen in countless, countless Zelda titles before. The Twinmold fight
does its best to make up for my misgivings with the other fights by starting
out fantastically with a Shadow of the Colossus-esque first phase against the first sandworm, after which a chest
containing the Giant’s Mask appears in the middle of the arena. Link can then
transform into a gigantic luchador, ready to take down the second, more
aggressive worm and its freaky babies. Instead of being just a bigger version
of standard Link, the Giant’s Mask now really made me feel like a giant as I stalked around the arena, lobbing fiery
punches at the giant worm and throwing massive boulders at it. This is all
enormous fun (HA!) and the battle as a whole is an awesome concept; the way it
progresses and the variety it brings to the table feels like an adventure in
itself and is exactly the kind of interesting and surprising boss battle I want
to see more of in new Zelda games.
Unfortunately, the second phase of this battle is harmed by two big problems:
it’s unclear how to effectively damage the second worm at first and more
detrimentally (and also partly consequentially), the fight drags on for way too
long, both of which can lead to severe amounts of frustration. There isn’t much
to the original Twinmold fight; the spectacle of the battle is more its appeal
than anything really, but like the other original bosses, it’s fast-paced and
fun. The new Twinmold battle perfectly exemplifies my overarching central issue
with all the new boss fights (with the exception of Odolwa): the bosses have
way too much health and just drag on and on and on for far too long, especially Gyorg and Twinmold. This, like many other
elements in this remake, just isn’t an aspect that is smartly designed around
an experience running on a time limit. The original game’s fast-paced bosses
and faster gameplay elements (like Zora Link) are elegant in their execution and
allow players to focus on getting as much done in a three-day cycle as
possible. Refighting bosses (which is often required to complete all of the
sidequests) in the original is also a fun way to test how fast I can defeat
each boss; in the remake, it’s more of a chore. I want to be clear: I don’t
universally prefer “fast-paced” boss fights, and actually in regards to the
more traditional games in the series, I’d say sometimes Zelda bosses go down too quickly, but the pacing of the bosses in the
original MM is on point and smartly
designed around the core three-day mechanic of the game, whereas in MM3D, the bosses are plodding and
unwieldy (and even in a non-timed Zelda game,
they would still be tediously paced).
Before discussing a few of the tweaks
in the game that I actually do like, I want to briefly touch on the new saving
system in the remake. While being able to permanently save at any owl statue
now (as well as numerous new additional save statues) is certainly more
convenient and can alleviate some frustrating situations like losing progress
due to the power going out, the new saving system takes away some tension from
the experience because it allows players to create a safety net. My main issue
with the new, more traditional saving though is that it can be exploited to avoid
having to deal with failures and some truly heartbreaking moments, which I feel
are important to the MM experience.
For example: during my playthrough of MM3D,
I failed to retrieve the Sun’s Mask during the Anju and Kafei quest, and
leaving Kafei trapped in Sakon’s Hideout and seeing Anju waiting resolutely in
her bedroom for someone who will never come, while the moon was mere moments
away from crashing down, was downright devastating and left a big impact on me.
But in MM3D, if I or another player
had saved right before doing the Sun’s Mask section, I could just reload my
last save and try again. Not only does this drain all the tension out of what
is supposed to be a very stressful section and lessen the impact of failure,
but some players will likely immediately reload their last save and won’t even
bother thinking of visiting Anju and having an experience like the one I had,
or letting the weight of their failure sink in, which in the end made finally reuniting
the two lovers on a separate cycle feel so much sweeter for me. This is yet
again another change that affects the immersion factor of Majora’s Mask for the sake of convenience and makes everything feel
more artificial; in short, it reminds the player that they are playing a video
game and that failure is of little consequence. This same notion can be applied
to other quests as well, such as failing to save Romani from the aliens. These
are just a few examples, but the new save system can be exploited in other ways
as well that just overall dulls the importance of the three day mechanic.
Obviously, traditional save systems are not universally negative in video
games, but Majora’s Mask is a special
case, and such a system is harmful to the immersive nature of the experience.
Personally, I played MM3D as I have
always played the original and mainly only saved at the end of a play session,
which for me was almost always equal to one three day cycle during this
playthrough, and I also made it a personal rule that I’d never fall back on a
previous save, even if I failed and had to redo something (I barely saved
during the middle of a three day cycle anyway, only occasionally in case of
unforeseen circumstances like the 3DS’s battery suddenly dying on me or
something). So at least the player still has some options in how they choose to
experience the game. I do, however, hate how the game doesn’t save after playing the Song of Time and returning to the Dawn of the First Day like in the original (which I’ve heard
has unsurprisingly tripped up some veteran players and caused them to lose progress),
which always felt relieving in the original and came with a sense of finality, and
knowledge that one could never return to a previous three day cycle. With the
way I played MM3D, it was annoying
for me to have to immediately play the Inverted Song of Time and run or warp to
the nearest save point after rewinding time (I would try to conserve as much
time as possible in doing so); I wish at least the option to save after rewinding time was left in.
But, despite there being so much I
take issue with in this remake, there are
a handful of adjustments and tweaks that I found to be overall positive in MM3D, believe it or not. Little touches
of convenience that don’t harm immersion and a few smart tweaks are sprinkled throughout
the game in moderation. Most notably, the touchscreen interface and all the
menus being on the bottom screen, which leaves the main screen uncluttered, as
is having more buttons for items (though the two touchscreen buttons are a bit
awkward; I used them for masks personally which works out nicely) is great,
just as all this is in The Legend of
Zelda: Ocarina of Time 3D, The Legend of Zelda: The Wind Waker HD, and The Legend of Zelda: A Link Between Worlds. This feels especially great in MM3D though due to the high volume of
items, bottles, and masks you carry around and need to utilize. Having quest-specific
items be on their own separate screen and not needing to equip them is nice as
well, and the process of giving an item to an NPC, a task done frequently in MM, has been streamlined wonderfully.
The new world map looks pretty nice too, and I love how there’s a map for every
area (from the insides of buildings to mini-dungeons and everything in between)
on the bottom screen that can be zoomed in on. In addition, there are simply
many other adjustments that cut out tedium, at no cost to the core experience:
these include time-saving alterations in the Deku Palace as well as new
hookshot targets around Great Bay and the entrance to the Pirates’ Fortress. I
also like that the Woodfall Great Fairy upgrades Link’s magic meter now, and
the much less useful improved spin attack upgrade has been relegated to the
Snowhead Great Fairy. Magic is crucial in MM,
and even more so in the remake thanks to the unfortunate change to Zora Link,
and so having that big meter early on is very appreciated. Finally, one neat
new difference is that Shiro, the invisible soldier, has been moved to the
Pirates’ Fortress, which, as the new story goes, he hoped to infiltrate in
order to prove his courage and get noticed. This change fits his character
nicely, but also allows especially discerning players to conveniently get the
Stone Mask in a location where they can get a lot of use out of it. While I
certainly wish that this remake had been more faithful to the original overall,
I don’t necessarily mind minor changes in remakes like the Shiro one that trip
up veteran players like myself in a fun way, as long as they are clever and
well-implemented (the superb Resident Evil remake for GameCube thrives on this kind of stuff; that game is such a
drastically reimagined experience that I basically consider it an entirely new
game from the original though).
Zelda games have time and again made the best use of Nintendo's dual screen idea |
I’ve gone over all the major stuff,
but there are countless other small changes throughout Majora’s Mask 3D that differentiate it from the original. This
review has already gone on for way too long though, and in the interest of
wrapping things up as quickly as possible, I’m going to skip talking about all
of these other differences in detail. Most of these other minor changes I’m
either mixed on, largely indifferent to, or like so many of the larger changes,
simply don’t like for one reason or the other, in some cases for the reasons
I’ve already talked about: they don’t jive well with the design of the original
game and/or they harm immersion and the game’s sense of realism. There is one other change I probably should address though: the Song of Double Time now allows the player to skip ahead to any hour they like, instead of just to dawn or dusk. I know for many players, this change is enough to make them play the remake over the original; for me personally...eh. It fits in the game nice enough and doesn't really mess with the core design too much like many of the other changes, but there are only a few moments in the game at most that I might have used this new feature for (I actually never used it once and forgot it was even an option for most of my playthrough). Since I find that there is almost always something to do in Majora's Mask, I never found "wasting time" by skipping ahead to really be something I wanted to do. Also, for a few events, the anticipation of waiting for something to happen is part of the fun for me and immerses me in the experience more. During the few other rare occurrences when I did find myself simply having to wait around for an extended period of time, I just soaked in the game's atmosphere; watched that aforementioned rain fall or fireplace crackle. Besides things
that were altered from the original, there are a few outright new additions to
the remake as well. There’s a new, seventh empty bottle received from a new
quest involving the three Gorman brothers. This new quest is decent, but its
implementation is a bit awkward and ultimately it’s all just a bit unnecessary.
There are also two fishing holes that were added to the game, one in the swamp
and one at the ocean; I’m mostly apathetic to this addition, and think that Majora’s Mask was the last Zelda game that needed any new extra
stuff to do, but at least the fishing gives veterans something new to check out
and I will applaud the developers for putting a fair amount of effort into
these sections. It’s clever and appropriate how they utilize Link’s arsenal of
masks to catch a wide variety of fish. I do have one big gripe with the ocean
fishing hole though: it hugely contradicts the narrative going on in the Great
Bay, as the fisherman and the Zoras are having trouble catching fish in the murky
sea, and indeed the fisherman states that there are no fish to catch. Several
NPCs refer to this problem and it’s not exactly a minor detail: it’s a big part
of one of the four main curses affecting the four worlds of Termina. Yet in the
remake here’s a little section of the ocean teaming with fish at all times,
right next to Zora Hall. I once again hate this kind of disconnect and it’s yet
another immersion-ruining element thoughtlessly jammed into this remake. This
could have been easily remedied as well by simply having the fishing hole be
closed until after you defeat Gyorg.
A lot of effort was put into the new fishing holes |
To some of you reading this, especially those of
you that overall like this remake and the changes that it made to the original Majora’s Mask (which is fine, by the way,
as we are all different people; I’m really glad that we don’t live in some
dystopia where we all have the same thoughts and interesting discussion is never
achieved), you might be thinking that this is all just “a bunch of nitpicks”.
First of all, remember that details, even minor ones, are very important to me
(especially in a game like Majora’s Mask),
and all of these details impacted my experience with the remake. I’ve talked a
lot about ‘immersion’ in this review, and while I think immersion and details
that enhance it are important in just about every video game, this element is
especially important in Majora’s Mask,
and therefore the changes in the remake that harm immersion are a big deal.
Secondly, remember that Majora’s Mask 3D
is a remake; if it was a brand new,
original Zelda title, we would not be
having this discussion and I would be praising it for being a really, really,
really good game. But Majora’s Mask 3D
is not original; it is a remake that intended to improve on the original work,
and thus stands to be compared to that work, and in this regard I have found it
wanting. Therefore, I inevitably have to ask myself: does this remake justify
its own existence for me? I would say ‘yes’ at first, if only for the enhanced
technical side of the game and extra environmental details, as well as the
novelty of being able to play a portable version of the game in 3D (although Majora’s Mask is not an experience that you
should be playing on the bus with the sound turned off). Also, the idea that people
who have never experienced the original game will get exposure to at least a
version of the Majora’s Mask experience
because of the remake is nice as well. I would
say this very flawed remake’s existence is justified because of all this…except
I recently went back and played the original for a little bit, and found after
testing several different setups that the Wii Virtual Console release (being
played on an SDTV with a GameCube controller) still holds up remarkably well and the game actually looks great
with such a setup. When I like the original’s art better, and when the negative
changes outweigh the few positive ones in the remake for me, than yes, I have
to come to the inevitable conclusion that I’d much rather be playing the
original and could have easily passed on this remake. And while new people being
exposed to Majora’s Mask is nice, I’m
very torn up about them playing a butchered version of it instead of the still
brilliant original. If I view the remake as a separate entity, I can appreciate
its few merits more and be more forgiving of its shortcomings, but what bothers
me is that Nintendo and the remake’s developers believe this to be the
definitive version and from now on will likely act like the original doesn’t
exist. I want to say that the Wii Virtual Console release of the game (ideally, but not necessarily exclusively, played with a GameCube controller) is the current definitive version of Majora’s Mask, but in truth, I honestly
think the true definitive version rests somewhere between that one and this
remake, due to the improved technical aspects, added environmental details, and
few positive adjustments the remake made with things like item management. Ultimately,
however, I don’t see myself returning to MM3D
that much, if at all. And you know what? As much as I didn’t particularly want
this remake and respect the integrity of the original so much, I’m not happy
about that. I wish MM3D was at least
as good as the original, more in line with Ocarina
of Time 3D and The Wind Waker HD,
where I can appreciate both those versions and the originals in a somewhat
equal manner. I’d like to appreciate MM3D’s
new visuals, improved technical performance, and details and enjoy playing MM on a handheld in 3D, but thanks to so
many misguided alterations, I’d just so much rather play the original instead.
It really is a shame. Perhaps more troubling though is that in terms of its
handholding and its stale boss mechanics (Twinmold excluded), MM3D feels like a regression for the Zelda series, which is such a shame
after the smart A Link Between Worlds
made such great strides in progressing the series past these conventions that
have been weighing it down.
Obviously, the original Majora’s Mask is a work of art that is very close to my heart, but I hope I at least have gotten across the fact that I have very specific, detailed reasons for thinking its remake is largely a bust. I will, however, say that despite it being inferior to the original in many ways in my eyes, Majora’s Mask 3D does ultimately retain the core essence of the original Majora’s Mask, and underneath the coat of cracked paint that has been haphazardly dumped on it, the brilliance of that original classic shines through. In essence, most of the thematic, narrative, and atmospheric elements of MM that are so important remain intact in MM3D, but from a functional perspective, the game is lacking, and many of its alterations unfortunately do bleed into the atmospheric side of the game and harm immersion as well. Ultimately and essentially, Majora’s Mask 3D is a game that is a brilliant experience in spite of many of its very questionable changes, instead of because of them, which is just another way of me saying that the original Majora’s Mask is easily the greater experience and the one I would still recommend to people, in particular the Wii Virtual Console port of the game (which can also be accessed from the Wii Menu on a Wii U via the Wii Shop Channel…which I know isn’t confusing at all, right? Blame the way Nintendo handles these things, not me), which looks better than the N64 version and controls great with a GameCube controller. But if one simply cannot get a hold of the original in any format for whatever reason, or is unwilling to accept its dated technical aspects, then and only then would I recommend Majora’s Mask 3D to somebody.
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