Koudelka sucks to play and isn't fun. In terms of a "survival horror + jrpg" merger, it basically merges some of the least interesting and annoying bits of both genres - the weird puzzly logic and backtrack slog through weird camera transitions (that in this case aren't even trying to emulate cinema, which is kinda the point of the RE camera) of survival horror combined with the "japanese role playing game"'-'s pointless onslaught of random battles, obscure combat mechanics and bosses that WILL make you grind for hours to beat them if you happened to not read an encyclopedia on stat allocation before starting the game.

Despite this, this game fucks. The setting is extremely well-researched, the characters very human and "real", the voice acting better than a lot of modern AAA titles and the writing itself manages to be interesting while exploring a combination of several otherwise tired tropes. The part that fails the gameplay, the mix of these two genres, saves the world built for this game from being a ripoff of anything. You are in a fantasy adventure, you have magic, but it's rooted in real lore and the horror genre, which makes a unique and great aesthetic without crossing into too quirky or pandering territory.

FINAL RATING: read a guide/10

Mahou shoujo, despite having an immense popularity in other forms of media, is relatively unexplored in games, limiting itself to existing properties turned game. Which is why, when Gust announced their new IP, Blue Reflection, I was into it from the first trailer: not only did it feature exactly that subject matter, but it was an incredibly stylish game to boot -- I was so pumped. The final product, however, was a game I had to drag myself through finishing.

The game follows Hinako Shirai as she returns to Hoshinomiya Girls High after a serious depressive episode. Hinako's life used to revolve around ballet, and she had a promising future in it... until she suffered an injury and was forced into early retirement. Her world having fallen apart, a chance presents itself: after an encounter with an oddly overemotional girl, then with the very eccentric pair of twins called Yuzuki and Lime, she ends up awakening to the powers of a Reflector, which allow her to see through her peers' emotions and help them navigate troubling feelings. Through those, she can not only help her colleagues, but there's also the promise that, should she fight off the monsters that threaten her school, a wish of hers will be granted, and in her mind, it's pretty clear what that wish would be.

The game is divided in chapters which tend to follow episodic formulae, at least until the later parts of the story: a new girl is presented along with her troubles, Hinako and the twins try to learn more about her, something causes tensions escalate to a boiling point, the girl breaks down, they use their Reflector powers and fix everything, befriending the new girl in the progress. In between these main story segments, there's free time, during which Hinako is free to go out with her newfound friends, help minor characters around the school and explore the magical world of Common, where their battles take place.

The ingredients are all here: There's a mystery: why was Hinako chosen? Who, or what are the twins? And why is Hoshinomiya a target for monsters? Plus, there's a wide cast of characters, consisting of the main trio and a whopping twelve girls that join over the course of the game and each have their own history and traits. Sure, one might say there's a lot of clichés in there, but that's like saying the baker uses a lot of flour: what matters, in the end, is how those characters interact and grow. Nobody at Gust needs to be told that, as they are experts in creating emotional character-driven stories with large, lovable casts, even if the premises seem like nothing much.

...and yet, that's exactly where Blue Reflection falters. While it has the makings of a good slice of life slash coming of age story, it lacks the character development to allow it to truly blossom. The main story's pacing suffers greatly from the long series of character introductions, and when it finally picks up, it mostly focuses on Hinako, Yuzu and Lime, not resolving a lot of the conflicts presented over the narrative and ultimately failing to justify the size of the cast. Past their introductory chapters in the story, most girls end up not having much relevance, the idea having been, I guess, for each of them to develop their characters over the course of the dates with Hinako as well as through specific character events but, well...

I suppose it's better to just talk about the elephant in the room: Blue Reflection was rushed out the door, and while the game is complete, it's severely unpolished. In no feature is this felt more than in the character relationships, which, for one, are not voice acted and feature shoddy animation and direction, resulting in very dry scenes. They're also formulaic to a fault: I mentioned that what really matters is how characters interact and grow, and the main issue here is that they don't do that. Throughout the character events, you'd expect the girls to grow in some way, to navigate some sort of problem or develop a part of their character, but instead, most character storylines don't lead anywhere: some loop back to where the character started, and there are a couple girls that come out worse than they started.

It does not help that all events have the girls interacting one-on-one with Hinako, who, save for the Achilles's heel that is her ballet injury, is on the stoic side, resulting in rather one-note conversations. Plus, when hanging out, Hinako takes every friend through the same list of locations instead of picking from those that would trigger more interesting reactions. Every girl has a scene on every location in the game, which include common points of interest in the city, like the station, the general store and temple, but also a few more... exotic picks, like the locker room, the showers, the pool scenes, as well as events where they stand under the rain, uniforms wet. I'm going to go out on a limb here and guess the motivation behind those isn't exactly character study.

...so let's talk about the second elephant in room (yes, there's two, it's a big room): it's not unusual for Japanese games to feature some degree of moe, and there's a line between that and just plain sexualization. Some games trip over that line sometimes. Blue Reflection somersaults over it -- it is creepy to the point of being disturbing. Many people mention the panty shot of a character going through a moment of grief that happens in the beginning of the game, which is terrible, but it's also the tip of the iceberg. Throughout the rest of the game, we have magical girl outfits that would make a stripper blush, we have jiggle physics on 14-year-olds, we have skirt flipping, see-through wet uniforms in the rain, underwear scenes, sexual assault played off as a joke, sexual assault not played off as a joke...

That alone would Blue Reflection incredibly hard to recommend even if the characters and gameplay were properly developed. Which is to say, even forgetting all about the issues with the writing and judging the game purely based on gameplay, it doesn't fare all too well either. Yet again, there's something here: the game features an enticing and stylishly presented turn based combat system that is centered on a timeline gauge in which characters advance towards the center to take their turns: by using resources correctly and aiming for enemies weaknesses, the player can monopolize the time gauge and prevent opponents from even taking turns.

This system shines the most during boss battles, in which foes often consist of multiple parts that attack separately, further playing into the idea of denying turns. Other mechanics, like overdrives and supports, become available later on, expanding the possibilities during battle. Outside of battle, characters can be built in different ways, earning them different skills that can then be customized through the fragment system. Fragments allow the assignment of additional effects to characters' abilities and become critical in the mid to late game. Both of these systems are inherently capped in how much you can power up between main story segments, meaning you're always at an appropriate power level during boss battles -- never stomping, but never quite getting stomped either.

Sure, the normal enemy encounters are much, much less exciting, but that's the case with a lot of RPGs, and is not the real problem. The real problem is that the game is entirely lacking in level and quest design. The mahou shoujo part of the game takes place in the parallel world of Common, which consists of maybe twenty or so different rooms that are reused throughout the entire game. Quests are similarly lacking in variety, with there being three types of fetch quests that you are forced to complete a number of to complete the story. That is what makes normal enemy fights become unbearable in the long run: the sheer amount of repeat journeys into Common in order to perform the same tasks. Add to that an unhelpful and sluggish UI present both when learning and customizing skills, and there's also potential for frustration, with the player losing due to bad builds and not quite knowing what's wrong.

Gust, I'm a fan of your work, but... this is not it. Blue Reflection shows a lot of promise and delivers on some great ideas, but completely fumbles the landing, becoming a disappointment to anyone who got hyped for it on its announcement. I hear the sequel is much better, and I will give it a shot some time, but I'm less than hopeful it can make the time I spent with the prequel worth it.

This is a very long explanation of why I’m not the most enthusiastic person about Majora’s Mask. TL;DR I agree with people’s opinions that the characters, side quest and world of Termina are fantastic; however, as a Zelda game, I think it leaves a lot to be desired and I don’t think its strong elements are enough to make up for that.
If you’re interested in my opinions, I would love to have a discussion about this game, since I feel like I’m the only one who isn’t ecstatic about it and want to know what others think of my takes.



I feel like I have more to say about Majora’s Mask than I do about any other game I’ve ever played. I didn’t hate this game, but I far from loved it. My perception of it is all over the place, and it especially sucks that I seem to be the only person who doesn’t like it. Sure, I’ve heard plenty of people say that they couldn’t get into it, or maybe there are some out there who were overwhelmed by it for various reasons, but this was my first time playing this game and I 100% it, and even still I don’t agree with the unbelievable amount of praise this game has received. That being said I still think I understand why other people love it so much, and if I’m correct in my assumption, then the things people love about this game are unquestionably the best parts about it. That “thing” being, again the world of Termina itself.

It’s easy to separate this game into two parts: the Zelda game part, and the side quest part. Personally, I really don’t like the Zelda game part. With one exception, I didn’t like any of the temples or the stories that were told in these areas.

Woodfall is ok; it’s inoffensive, the conflict that happens here is serviceable, and the temple is really simple but it’s not bad.

Snowfall is one of the biggest “mehs” in a Zelda game for me; the whole plot is about stopping a baby from crying (so it’s not exactly the most engaging conflict) and there was too much backtracking in the temple for my liking. I was constantly confused about how to progress or where I needed to be, so I ended up running back and forth through the dungeon and not having the best time. I blocked this whole area out of my memory and don’t remember very much about it.

I DO, however, remember the Great Bay. I had absolutely zero fun in this area. Zora swimming is cool I guess, but this place is so big and empty, the Pirate’s fortress and retrieving all of the eggs is so tedious, and it takes an eternity to finally get to the temple. I think it took me three hours from entering it to getting to the dungeon. And the dungeon itself is pretty lame too. It’s better than the first two because it has an interesting gimmick unlike Woodfall temple, and it isn’t confusing to navigate like Snowhead temple, but it doesn’t really have much going for it. It takes a long time to complete, has the worst boss in the game, and its mechanics weren’t fun to solve or execute. I might have found the story here more interesting if I didn’t absolutely hate everything else about it.

Ikana Canyon is the best area by far. It has the most interesting story and the most compelling characters in my opinon. What happens with the little girl and her dad is the most moving and beautiful thing in the entire game, and the area as a whole has an air of regret and decay that is unrelenting. The dungeon is also the best in the game because it effectively uses all of your tools and has a neat gimmick where you flip the entire dungeon upside down and have to explore it on the floor and the ceiling. Unfortunately, while this dungeon has the highest highs, it also has the lowest lows.

Just getting to this place is a nightmare; playing the elegy of emptiness dozens of times, unnecessary micromanaging of your inventory, and having to repeat it whenever you want to switch the temple upside down. It’s padding and tedious. I also had a rough time playing this dungeon in particular; when I got through the dungeon, I was on the night of the final day, and when I fought the boss for the first time, I used up all of my magic and couldn’t use the giant’s mask anymore. I was a bit confused on how the fight worked to begin with, magic drops would despawn before I could pick them up, and trying to hit them with arrows as regular link was practically impossible; essentially, the fight was unwinnable with my current knowledge and arsenal.

So, I decided to use the ocarina to head back to clock town and get some Chateau Romani to get infinite magic. Unfortunately, since I was on the night of the final day, I had to reset the cycle. You wouldn’t think that would be so bad since I’d already finished the dungeon and so I could go straight to the boss. I thought the same thing, but unbeknownst to me, when the cycle reset, so do chests and small keys. I had to play through the entire dungeon again, trying in vain to remember how to spawn the chest I needed to hookshot to and where the small keys were (some small keys didn’t even respawn and just gave rupies instead, forcing me to waste even more time trying to find the specific keys the game respawned). Over an hour went by before I finally had reopened the path to fight a boss I already didn’t enjoy fighting. I realize that this is a very specific instance, and perhaps I shouldn’t use this example to speak on the game’s objective quality. But I hope you understand how frustrating it was for me to go through, why it left a bad taste in my mouth, and why it negatively impressed my opinion on this dungeon, this area, and the game as a whole.

Aside from the areas and dungeons, I have two larger, more general complaints with the Zelda side of the game that were present throughout my playthrough.

My first issue is with the controls. I should specify that I played this game through the Wii virtual console with a GameCube controller, so it’s possible that these complaints are due to my control method and not the game itself. One issue is the fact that the N64 buttons are mapped to the GameCube c-stick. Needless to say, trying to replicate button presses by assigning them to an analog stick isn’t ideal, and I constantly had misinputs whenever I was trying to use an item or play the ocarina. What I didn’t know until my last few hours of playing is that they’re also mapped to the x, y, and z buttons. While this helps dramatically with item usage, it’s even more cumbersome to play the ocarina this way imo, the up button is still only mapped to the c-stick (as far as I’m aware at least), and the fact that it isn’t labelled as their respective buttons creates a disconnect between my muscle memory and what my eyes tell me (which isn’t the games fault, obviously, but with using the GameCube controller on the N64 rom).

Another issue is with item management. With the wide array of standard Zelda items as well as a couple dozen masks to sort through, going through your menu will happen more often in this game than it will in most other Zelda games save for Link’s Awakening, or at the very least it feels that way because of how slow it is. I really don’t know why the three transformation masks and the ocarina of time couldn’t have been mapped to the d-pad. All the d-pad does in this game is function identically to the b button when you’re in the bomber’s notebook (weirdly specific, I know). I realize this might be an awkward move for your hand to make considering the d-pad and the analog stick weren’t easily accessible together on the N64 controller, but this method would still be faster than sorting through menus manually and essentially give you 7 item slots for quick access; on top of that, you’ll rarely have to switch between transformation masks or use the ocarina in tense situations, so it’s not like it moving your hand over would put you in a disadvantageous spot in a boss fight or something like that.

My last control issue is that the inputs aren’t very snappy or precise. I’m not sure if this is because there’s some input lag, or if it was a programming limitation on the N64, or if it’s a GameCube controller issue, or something else entirely, but I’ll try to explain what I mean. The two specific actions this is an issue for it is bomb throwing and camera resetting. With bomb throwing, you can’t simply hold forward and immediately throw the bomb like you can in most other Zelda games; trying to do it that fast will just have Link set it down in front of him like a dumbass and blow himself up. He has to have a running start in order to throw it in front of him. This led to me failing the bomb minigames multiple times.

The camera reset is a bit harder to explain. If Link faces directly at the camera and you hit the L button to reset it behind him so that the camera turns completely around, but then immediately hold forward after the camera has finished moving, Link will do a complete 360 and keep walking in the direction he was originally facing. In order for the camera to stay set behind him, you half to wait about a half-second and then hold forward so that it doesn’t spas out. I’m sorry if I’m doing a bad job of explaining exactly what this is like, but it’s similar to Mario’s turnaround controls in Mario 64, where you have to wait a half second for Mario to make a complete stop before turning around, otherwise he’ll turn in a semicircle and fall off of platforms. The point is, I had trouble with the camera in this game, and while it didn’t cause me to take unnecessary damage or lose progress, it led to a lot of waiting if I wanted to simply turn around as well as making locking on to bosses harder than it needed to be, and this is something I had to deal with for the entire game.

My second larger, general complaint is with the puzzles in this game. Puzzle solving in this game can be very cryptic, and very often has at most two but usually one solution to problems; I noticed this most in Snowhead temple, the two skulltula houses, and a few places on the overworld. I’ll try to keep this part brief because I understand that this is an issue that is present in pretty much every Zelda game prior to A Link Between Worlds, but this is the game where it got on my nerves the most, and I wanted to give a few specific examples.

In Snowhead temple, your progress to multiple rooms is blocked with icebergs covering doors that you need to fire arrows to melt. There were some torches next the icebergs in the central room, so I tried shooting an arrow through them in order to melt the icebergs; the game had previously confirmed that using arrows to transport fire from one place to another is something that the game is capable of doing, since you had to figure out how to do that to clear poison from the water in the Woodfall temple. My friend also swore that he had done this exact thing and it worked for him, but we tried it dozens of times from multiple different angles and it never worked. I also tried punching the icebergs with Goron link, because the game had previously confirmed in another room within the same temple that Goron link could punch through ice enemies that would normally freeze you if you touched them, as well as the fact that Goron link could break through snow boulders outside the temple by punching them, but those didn’t work either. I had to get the fire arrows from somewhere else in the temple and then come back and melt them with those because the game only allowed for one specific answer to the puzzle.

Another example is in the skulltula house in woodfall. There’s a room where some skulltulas are hiding inside large pots and another where they’re in a tree that you can’t get on top of. In both cases, in order to reach them, you have to either roll into them with regular link or punch them with Goron Link (who has a janky hitbox that doesn’t always hit in front of him). I was stumped on these, and I tried pretty much everything except for the specific answer the game wanted; the pots couldn’t be broken with swords or bombs or any other attack like the smaller pots could, so I didn’t think hitting them anymore would be a worthwhile idea. The tree couldn’t be burned with fire, even though there are torches in the room and I thought that burning would be a logical solution, especially when fire could burn up your wooden shield back in Ocarina of Time, which has the exact same engine as this game. In neither case does rolling into them as regular link make sense (I don’t understand how a 10 year old boy hitting a pot three times his size would make a spider the size of a dog bounce out from the top, or how doing the same thing would knock them down from a tree), and I actually did try hitting them with Goron link, but neither time did it work at first, partially because of the aforementioned janky hitbox, but with the pot room specifically, you can’t see the skulltulas, so it’s impossible to tell which ones they’re in. You’re supposed to rely on the sound they make to determine where they are, but there are two of them and the pots are so close together that it’s impossible to determine which ones they’re in by sound alone.

I’m explaining my process in so much detail to try and show how this game often requires one specific solution to problems that realistically have multiple, and that it often discouraged experimentation and just made me frustrated. I could give more examples, but I’m hoping that these were enough to prove my point. I realize that this is pretty standard early Zelda stuff, but again, I found it the most egregious here.

I’ve been very negative so far, and perhaps even really nitpicky, but I’m trying to give an accurate description of what my experience playing this game for the first time was like. With that said, I think it’s time to move on to the part of Majora’s Mask that I really liked: the side-questy part.

The other half of this game has to do with the game’s time loop mechanic, the world of Termina itself, and the side quests associated with the games many characters. I actually don’t have a lot to say about them, surprisingly enough, but this part of the game is the real bread and butter, pretty much the only thing anyone ever talks about, and exclusively why everyone loves it so much.

This part of the game is focused exclusively on the narrative, and I think it is an interesting parallel to Ocarina of Time’s narrative. In Ocarina of Time, the focus was on Ganondorf; he was a constant intimidating figure, his influences on the decay of the world was very authentic and impossible to ignore, and the entire story centered around the importance of stopping him. In Majora’s Mask, the focus isn’t on the villain and their effect on the world (I’ll talk more about that later), but rather on the people that already existed in that world and how their lives have been impacted.

In that regard, Majora’s Mask is a massive success. The people that inhabit the land of Termina are about as far from stock characters as you could possibly get. They all have their own schedules that revolve around the time loop, and by reading their dialogue you learn so much about their ambitions and personalities. At first I took the curious shop owner to be some shady creep, but learning that he was actually one of Kafei’s closest friends and helps both of you in Kafei’s quest made me appreciate him as more than some NPC, but as a multi-faceted human being.

And the time loop being used as a way to have jumbles of polygons feel like people with their own lives and agendas is one thing, but it also reinforces the air of hopelessness surrounding this world as well. I start to feel a little funny whenever the last six hours begin to tick down, as I see the moon almost take up the entire sky, with most of clock down deserted and the few who are left either panicking, hopeless, or have accepted their demise. There’s a somberness that comes with the realization that the end of the three days is inevitable, so you reset the cycle with the somewhat vain hope that next time things may be different.

I could go on, but I likely don’t need to say anything that you already believe or have heard countless other people praise, and I don’t want to spoil some of these best moments, because I absolutely agree that this is where Majora’s Mask is at its best. Nothing is as it seems and seeing everything that happens is excellent (I will say my personal favorite quests were the Romani sisters, Kafei and Anju, and perhaps ironically the hand in the toilet).

But here’s where I get a bit less positive again. For as much as I love this part of the game, I think that it isn’t enough to save the game from how much I didn’t like the Zelda part of it. I also think that it could have been so much more than what it already is. I have a few complaints and a couple suggestions for how I think this could have been even better.

One thing that isn’t necessarily a complaint but still something I wanted to point out is that I was surprised by how many lighthearted moments there were in the game. Perhaps this is due to this game’s insurmountable hype, but I had always heard that Majora’s Mask was creepy, scary, unsettling, disturbing, and depressing. While it certainly is all of these things in moments, I guess I was expecting something more along the lines of Dark Souls, Metroid, Hollow Knight, or Hyper Light Drifter, where the atmosphere is absolutely unrelenting in the emotion it’s trying to convey, and for me Majora’s Mask wasn’t that. It is surprisingly colorful, especially for an N64 game, and there are plenty of very silly moments, from the goofy writing, to bonkers characters like Tingle, to the all the energetic and carnival-y music (a lot of which was carried over from Ocarina of Time). I imagine some people really like this diversity (plenty of games have conveyed multiple emotions while still having one central tone after all), but it certainly wasn’t what I thought it would be given what I had heard about this game.

Now I actually do think that the tone is slightly worsened by one thing however: the ocarina of time itself. I said already how I think the time loop is a great gameplay mechanic for telling the stories within Termina, and I especially like how much more use it has compared to Ocarina of Time. However, I can’t help but feel like the ability to freely control time at will takes away from the tone of the game and the stories of the characters. These stories are undeniably complex and emotional af, but by being able to reset the cycle at will as many times as I damn well want, I think it takes away from it. Link is practically a god in terms of what he’s capable of doing. There’s absolutely no limit or consequence to his power, and the more I realized that, the more the gravity of the situation lessened. The inevitability of this world’s destruction and the deaths of its inhabitants began to feel less and less inevitable as I realized I have an infinite amount of time to get everything just right. Perhaps with this realization also comes the realization that in this current loop there can also never be a happy ending, but for me I found my unlimited power came at the cost of me being a bit less invested in what happens to this place and feeling like there was a lot less tension (which I think that keyword tension is really important for both the story and vibe of the game). It also doesn’t help that character quests are completely reset when the cycle is reset, which makes sense of course, but also takes away from their impact, at least for me.

One big missed opportunity that I did notice (which I think contributes to both the lackluster stories within the four major areas as well as my issue with how Link’s unlimited use of the ocarina diminishes the impact of the stories in clock town) is how much Skull Kid’s significance is weakened as the game goes on. Once you get the Ocarina of Time from him in the first cycle, you don’t see him again until the very end of the game. You get one cutscene showing how he became friends with Tatl and Tael, but aside from that he has absolutely no presence in the main story. This is so baffling to me, because the characters in all of the major areas refer to Skull Kid as being the one to cause all the terrible things that are happening, and I’m wondering how that’s even possible and why we never see it. The time between when Link meets Skull Kid in the opening cutscene and when he arrives in Termina is like 10 minutes tops, and we play through our first three days arriving here over and over again. Given how detailed the conflicts in these major areas are and how little time there was for Skull Kid to set them all up, I have doubts that he actually could have been that fast. Sure, it’s possible that Skull Kid set all this up before we even showed up, but there’s also no indication that that is the case from what I recall.

What if we had seen Skull Kid actually wreaking havoc on these places? This alone could accomplish so many things within the story. 1. It would make Link’s drive to defeat Skull Kid much stronger, because he would have a constant presence AND he would always be one step ahead of us. Despite the fact that we can reset time as much as we want, we’re still not fast enough to stop Skull Kid before he wrecks everything (that alone I think would resolve my problem of Link being too powerful). 2. It would make the struggles of these places directly link (hehe) with our own. The stories in the four main areas aren’t nearly as interesting or fleshed out as the stories of the people of clock town are, and I really didn’t care about them to the same extent that I cared about clock town’s residents. If we saw Skull Kid cause the conflicts of the four major areas, we would have a constant threat as the source of everything, and it would help all the stories come together, not to mention make them more interesting 3. It would make the atmosphere of Termina even richer. If we were able to see these places, if even only for a brief second, right before Skull Kid destroyed them, we would have a reference point to know how joyful these places were before Skull Kid arrived, and we would have to live with the knowledge that these places will never be as happy, peaceful, or hopeful as they once were until we stop Skull Kid.

Wow, that’s a lot of thoughts. That’s all of my major points about the game. I’m sorry if this seemed overly negative, but considering how much this game is spoken about in a positive light, I felt that my criticisms were more relevant. I want to clarify that I don’t hate this game at all, I just feel like I have very little to add about what this game does well, and I mainly wanted to express why I think this game is overrated and wonder if anyone else shares my opinions or finds my thoughts interesting, or if I’m completely soulless and suck at video games and that’s why I don’t see Majora’s Mask as the masterpiece everyone else does. I should also clarify that it’s very common for otherwise great games to have notable flaws. Pokémon Platinum, Kingdom Hearts II and Breath of the Wild are my three favorite games of all time, and all of them have multiple noteworthy flaws and I would understand if those flaws ruined the games for some people.

I think that, much like Mother 3 and Superstar Saga, this is a game I will enjoy substantially more on a second playthrough. I definitely will play the 3DS version should I ever play this game again. But something I would really like to see is Bluepoint games remake Majora’s Mask. I realize that Nintendo is never going to outsource any of their properties ever again, but I would love to see what that would look like since Majora’s Mask is pretty much the only Zelda game that doesn’t have a definitive version to play.

Anyway, if you actually read all of this, thank you, and also please let me know if anything I said made sense or if you want to comment on any specific part.