Many players would have wished this time system away, but it's still present in this new version. The script seems particularly preoccupied with the regrets of the dead - even moustachioed ghosts and comical skeletons have sad tales to tell. It can be hard not to respond by playing with ruthless, pared down, planned-out efficiency - not really in the spirit of Zelda games, which reward aimless curiosity with their many detours, mysteries and secrets. You don't control the flow of time so much as feel helplessly as its mercy: you set reminders, miss appointments, sweat nervously as you race the clock, never allowed to forget for a minute that time is running out and you can't be everywhere at once. It doesn't feel empowering - quite the opposite.
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Even when you have it figured out, miscalculating how much time you have left or triggering a more complex series of events than you expected can often leave you having to scrap and repeat sections of the game. The rules of what changes and what doesn't each time you hit rewind aren't consistent or clearly explained. It is opaque and burdensome and stressful. It's an ambitious system, unloved by many players, and it's easy to see why. It can slow time, skip you forward through it, or it can return you to the start of the first day, with everything back as it was: all your work undone, and only the most precious of your possessions with you. Time passes here - at the rate of an hour a minute, it fair gushes down the drain - and Link's magical ocarina no longer carries him back and forth at will until the timeline is arranged to your satisfaction. This is the bitter twist of time-travel in Majora's Mask. Not the first time, and probably not the next dozen times either.
![xmovies8 laid in america xmovies8 laid in america](https://www.mcezone.com/wp-content/uploads/2021/07/Xmovies8.jpg)
In three days' time, the moon will fall and burn the world, killing everyone. This isn't happening because of some evil scheme, but because a lost and lonely bundle of rags called the Skull Kid played with something he shouldn't - the cursed mask of the title - and succumbed to its destructive urges. The moon is falling on the land of Termina - its looming, grimacing face as sinister as only the most childish horrors can be. One song you learn is called the Elegy of Emptiness and leaves a hollow effigy of yourself behind. It really is a subtly but surprisingly dark game. Majora's Mask isn't the stuff of myth, it's the school of hard knocks and broken dreams, dressed up like an eerie fairy tale. It asked: what's it like to be a child in an adult world that's falling apart? Never mind facing evil, how do you face sadness and regret? And how do you deal with the inevitability of failure? You pick yourself up, go back to the beginning and start again - clawing a little victory for yourself each time, banking a little experience for later.
![xmovies8 laid in america xmovies8 laid in america](https://appgrade.es/wp-content/uploads/2020/02/Ejpain.png)
And yet, at heart, it could not have been a more different game. It was built on the same engine and used much of the same artwork and designs. It was set just after Ocarina of Time, with the same Link returned to childhood and continuing his adventures in a strange new land. Two years later there was a sequel, Majora's Mask - now available in this splendid remake for 3DS - and it returned to the time-travel theme.
![xmovies8 laid in america xmovies8 laid in america](http://brysonse.com/wp-content/uploads/2013/10/Picture4.png)
He will master his destiny and the world around him. He will travel to the future to undo the wrongs of the past, and travel to the past to prevent the wrongs of the future. The boy will venture through time to become a man, it foretold. When Nintendo decided to tackle time-travel in its 1998 masterpiece, The Legend of Zelda: Ocarina of Time, the approach it took was mythic, built on moral fulfilment. Eurogamer has dropped review scores and replaced them with a new recommendation system.