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Friday, December 17, 2010


CrossGen Comics has returned as an imprint from Marvel, who is owned by Disney, who bought the bankrupt company CrossGen's properties.

So CrossGen is back


Well not exactly, not really. You see, while I seriously liked the vast majority of CrossGen, the best books at CrossGen were written by Chuck Dixon, Ron Marz and Tony Bedard. I liked RUSE by Mark Waid, so I am not totally against this all, but, without Chuck, Ron and Tony, the heart and soul of the work will not be there. If the Marvel CrossGen imprint puts out some great work, hooray. I am glad to hear it. If they don’t ok, that is sad, but, the vast majority of quality works came from CrossGen when Marz did Sojourn and The Path, Bedard did Route 666, and Dixon did: Brath, El Cazador, and The Way of the Rat.

Now don't think I am ignoring the beautiful art and quality standards of production at CrossGen. They had a lot a great art talents there. But for me, pretty pictures are just that, unless brought to life under the keyboard or pen of a brilliant writer. And while at CrossGen Ron Marz shined, Tony Bedard leapt into popularity, and Chuck Dixon did some wildly entertaining works.

So pardon me for being cynical, but until the heart of the best works is revisited, by the authors of those works, this is pure marketing. And I am an old fart. So I take that very seriously, I may not be in the proper demographic, but I am still a fan of CrossGen’s output, and I prefer to consider the best of CrossGen to be emblematic of it, rather than the sexier titles.

Good luck however to Marvel in this endeavor. I hope they are a great host for some wonderful works. And I expect things to blossom there, since Disney and Marvel both desire this to succeed. And they have the money to do this right.

But bring back Chuck and his works, OK Marvel/Disney? Thanks.

Monday, December 13, 2010

Happy Holidays, whichever you celebrate


Words: Alex Ness
Images: Marc Kleinhenz

(copyright 2009)


Bells and sleighs and winter snows
Pine forests and silent nights
Are frames for the photos
Of celebrations of life

Of the world in slumber
To receive the blessings
Of the new child of wonder
Of a new year of living

We bow down before
The majesty of the king
For the new year

New life in our veins
Wipes out the clutter
That presaged our ways
The child is redemption

We know it is true
We recognize the promise
That we can renew
So we bow down and rise


What is there in our sleep
The winter is our dream
We huddle down tightly
To warm from the days
We huddle to sleep through the nights
The season is our reminder
That there is a cycle
We are part of in life
Birth in Spring
To dance in Summer
To quiet in Autumn
And to sleep in the depths
Of Winter’s embrace
But in the midst of that
Though the cold
We have warmth and hope
For a season of giving begins
To remind us all of the gifts
We are given
And the hope for a world
To awaken with joy


Sending cards
Sending prayers
Sending thoughts
Lighting candles

Children laughing
Paper ripping
People singing
Fires warming
Life is good

Christmas songs
Trees decorated
Presents wrapped
Food prepared
Remembering lives

Every moment
Every hug
Cherished and saved
For the year’s slog
Through event and trial
Each year an endeavor

Time for endings
Time for beginings
Time to share
Loving within
Every bond

Never ending love


Every moment spent together
Is a promise to be moral
Kind, and simply better
For in sharing we become kin
For in loving, we become good

In the midst of the year’s coldest weather
We are called to join together in love
We give gifts
We love and share
We wait for sounds from above

Of footsteps upon our roof
So children can know
That love is more than familial
That love is the truth

It comes from within but grows only
When shared with others
Who are in need

Father Christmas is proof
That we are bound
That when we love as if loving forever
Our lives become sacred holy ground


To the children of African skies
Who dreamed of a better day
He brings love and hope

To the children of Europe
Who long to feel in a world so modern
He brings hope and love

To the children of North America
Who forget if never taught his truth
He brings gifts of dreams

To the children of Asia
Where so few know his name
He brings the love of good

To the children of South America
Where hope is bound with morning
The children will rise and be surprised

To the children of and in worlds unspoken
Father Christmas is love
And is a promise unbroken

Marc Kleinhenz interviews Alex Ness about the project...

How did you come to be involved with the project?

As Marc Kleinheimer asked me to collaborate with him, it was really not a question of if but of do I have the time to do it. I have respect for him and thought it would be nice. As it turned out, from the time he asked to the time I finally finished, my life experienced some turmoil. A good friend of a dozen years passed away, my mom had ended a very sad visit here in my home, where she spent nearly the whole of it in bed, sleeping due to her Alzheimer's, and the aftermath of a big fallout with a publisher/artist was going on to depress the life out of me.

So when facing the poems, I had to consider the subject, the Christmas holiday, versus my own sorrow. But I did it.

With that said, how much of that sorrow do you think bled through? And of that quantity, how much was intentional?

Intention is different, I think, than result. My intention was to channel the glory of the season, and if there is sorrow in it, it was neither purposed nor desired. However, I am not saying any of the work for pic was something I wasn't happy with. The fact remains, however, that the message is receiver-driven, and whatever the voice of the creative talent, the receiver is bound to receive the message through their own particular mindset, circumstances, beliefs, hopes, fears... A perfect example of this would be the number of poems I've written in worship for God but, having not named God in the work, is received as worship from an adoring lover. It is all good, mind you -- I hope my love for God is so true as that -- but beyond that, if a person has only a hammer, they tend to see everything else as nails.

I find that a very interesting response; in a previous interview you did last year, you said: "I have dropped the view that the message is with the receiver. That is a cultural myth we hold."

Well, there is an amazing amount of suggestion that it should be true, almost saying that the receiver is so much more important than the work or voice of the work. I think that it should just be noted that, whatever the receiver brings to the poem or prose or movie or song, if the subject is about Godzilla, the receiver is free to interpret, and will interpret it however it will. So my point is that, when dealing with creative works and the reception of the same, you both create a work, and allow it to be interpreted. The fact is, the creator of a work is not hostage to the interpretation by the receiver, but the receiver is under no onus to do or think or feel anything that the creative person wishes. I knew someone who got a perverse thrill out of masturbating to nude photos done in an artistic and non-prurient fashion. He said he wanted to teach the photographers and models that he could do whatever it is he would do. I am not saying that the actual message is receiver-bound, but that the receiver is unbound by anything to accept what the intended message is.

Two of the biggest thematic motifs throughout both your work and your conversations about your work are religion and the nature of and value in art. So let me ask: where does religion end and spirituality begin? And where does spirituality end and art begin? Or is there any connection between the three at all?

Religion is a set of beliefs that have a code based around them. It involves ritual, standardized patterns of worship, something you can say I am -- and someone will have at least a clue what you are saying you are. Spirituality is both more than and less than that. People who follow a religious belief are not all spiritual, but most of them are. But not all people who are spiritual follow a religion. I think religion is more of a template to believe and spirituality is living and believing in what you believe.

Spirituality and art are connected in that we are made in the image of the creator, and, from what I can tell, the manner in which we worship, understand, grow is to create. Some people create and raise children. Some create arts. Some create paradigms to understand reality. I am sure not everyone agrees that when they create they are being spiritual, but I am suggesting, whether they realize it or not, creation is an act of spirituality that celebrates the creator/ creation. I am a Christian, but some suggest I am a universalist. I am not that, but the truth is I am much more emotive, organic in belief, than religious. So I am more spiritual than religious.

When you sit down to write, is there a conscious decision to include spiritual or religious overlays to your work?

Well, in the case of Christmas poems, I certainly didn't avoid such messages or imagery, but the best answer is no, it is not usually a conscious decision.

How closely do the Epiphanic poems resemble what you had originally intended? Is there usually a lot of variance in the writing process for you?

Okay, this gets into just what the poem is about and why I am doing it. Generally speaking, my creative form involves three sorts of beginning places. I get a word combination or am inspired by an image or idea and it burns in my head until I write about it. I read and research a subject, think deeply upon it, then let my words fall where they may. Or I have a subject I am to write about, and I simply write from a Zen place, hoping what results is poetry. In all cases, the original intent is to create something, not a specific item, really, but something. In that case there is no variance between what I wanted and what resulted. In a very real sense, I almost never know how my effort will result, but I am content that if it is a poem, it is good.

How often with your poetry do you go back and rewrite? Not just edit or tweak words, but actually redraft and re-contemplate?


That's interesting. That's quite the opposite of someone like John Keats, who could literally spend years writing and rewriting and rewriting just one poem. Do you think there's any inherent advantage or disadvantage to either approach?

The reality is that you can achieve perfection both ways. I think there is evidence that the first blush is often as good as the end result of hyper-revisionist tendencies. So, the advantage, of course, to less edits is that you get the original intent; the advantage to more edits is that you may reach the perfect formula of words. As a creative person, I understand the desire to achieve perfection and think it is a good thing if you can arrive there. The vast majority of people I know, however, who do the hyper-critical editorial eye are never happy, ever, with their work. The vast majority of people who are one-run-and-done might be more prone to flaws, but they appreciate their result.

How often do you feel you've reached perfection in your work?

I am not a perfectionist, so I've never considered it. And, frankly, a prophet who interprets his visions is a fool, and an artist who assesses his work or its importance is a bigger fool.

This may be a silly question, but are you happy with the way the Epiphanic Heirophanies poems came out?

I don't let anything be published in my name that I am not happy with. Any poem I write that you see I am happy with. I have had works in numerous anthologies that the book itself I am unhappy with (Mysterious Visions After Hours, for example) but am happy with my own work and that of others.

In that case, are you happy with the way the photographs came out?

I've worked with many artists and photographers and only once have I felt that their work was wrong. I guess it is because I let others interpret as they will. I might well have taken or used more black and white images myself, but that is a personal preference, and I am not the one doing the interpretation. The answer is yes, I am happy with the photography accompanying the words.

How did the word-picture process work? Did you write to the pictures or vice versa?

I've no idea, really, how others work, but more than anything else, if I see an image, it causes words to form in my head. It always has. Some people are moved by music, and I love music, but more images bring tears to my eyes than songs. So, for me, while I don't write to an image, there is always one in my mind. I've been told my work is highly visual, so perhaps it is because of that.

So you wrote the poems first, then Marc added the pictures?

Very much so. On two occasions he asked me for a response to a pic, but that is the only time.

Generally speaking, do you think the pictures added to or subtracted from your original intent or internal imagery? Or were they completely off-base to what you had in your head?

I think the pics worked, and they were Marc's interpretation, so I am content with how they worked. Any time I enter into a collaborative effort, I fully allow the partner to do his or her thing.

Has there ever been a time when you thought a collaboration with another artist, for whatever reason, just fell through or flat?

Fell through? Ha! I had two books promised to me to come out by July 2009 that never happened, and one of them was originally promised by October 2008. Collaborations fall through more than happen. Fall flat, though? I am sure it happens, but I've been extraordinarily lucky every time with projects that happen. Marc Kleinhopper included.

Given the infinite medium that is the internet, what is poetry's future?

The future of poetry is ever more bright with the existence of the internet. People are able to share 100 times easier, get feedback, get published, even if it is self-publishing. Places like,, and more popped up and you can get your work out there.

Can you make money at it? I can't, but that doesn't mean I will stop trying.

That leads perfectly to the next question: what's your future in/with poetry?

I have 3,000 unpublished poems. Most are good work. If I don't publish them or have them published, it will be up to my wife or son to do so. I never stop writing. If I did, I'd die.

I plan to write until I die. Whensoever that occurs.

What is your favorite type of poem? Iambic pentameter? Haiku? Free verse?

I love all forms of poetry, probably especially if I understand them. There are people who throw this and that and the other thing in a list of demands and it has nothing to do with form, style, or, in the end, enjoyment. I like free verse, but blank verse interests me, and haiku is magnificent.

If the life and biography of Alex Ness were written as poetry, what form would it take? And how long would it be?

I could do it in a haiku. Let me see:

Falling upon rocks
I scream at indignities
And people applaud

Wednesday, December 8, 2010

Analyzing Zelda, Part One

This is a series I am starting on the philosophical viewpoints that the Legend of Zelda video game series can bring to the table. Whether you are a fan or not of the series, I will be going over the emotion, experience and thoughts of the series, as well as going over slave morality and ludus and paidia play of the games.

This is just an introductory video to the series and to get you familiar to the series and what it encompasses.

Transcribed from video:

This is a philosophical study of the theories presented in the Legend of Zelda series. This does not necessarily present my own beliefs, nor am I forcing these beliefs on anyone watching. Please do not start any religious arguments or cause a flame war. Comments will be deleted if that happens.

Discuss only that which is relevant to the video. Thank you.

This series is based on the excellent book the Legend of Zelda and Philosophy. This is a fan's attempt to take the somewhat confusing language of the book and make it understandable on a basic level.

One of the most popular franchises to date is the Legend of Zelda. Beginning with the original Legend of Zelda and continuing on to Spirit Tracks and beyond, the tale of Link is familiar to any gamer--a kid or adult named Link is on a quest to rescue Princess Zelda, and reunite the Triforce to save the land of Hyrule.

Of course, the fact that the storyline, enemies, characters, and music change slightly with each game is part of the fun. The Zelda franchise has become a cultural wellspring. Forget just video games, Zelda is huge. From cartoon shows in the 80's (which some would like to forget), to present-day comedic skits on YouTube, the franchise is prolific.

Calling yourself a gamer requires at least a passing knowledge of Zelda. There are entire websites devoted to Zelda and nothing but. Many of these have sections for dungeon guides, timeline theories, item listings, walk-throughs, forums, ringtones, game art, and much more. There are official comic books, fan comics, webcomics, and the Zelda music has been translated on just about every instrument.

But beyond all that, the original gold-plated Nintendo cartridge has sentimental value for all of us. It marks the beginning of a saga--or perhaps our childhood. While your love for Zelda might not have landed you a date (unless it was another gamer, like I found), it did give you a chance to take Link on an adventure through the fantastic world of Hyrule.

The exact reason that the gamer can guide Link is one of the reasons why Zelda is so ripe for philosophical speculation. A movie-goer cannot guide Luke Skywalker--he can only sit back and hope Luke doesn't give into Vader or the Dark Side. Despite having some fixed elements, a Zelda game is not entirely out of the gamer's control. The gamer plays the game as Link, and is not a passive observer.

Zelda does something for you that you may not even realize. Many of you, I'm sure, know that feeling of finally understanding something; of struggling and struggling to no avail, until, lo and behold, everything becomes clear.

It's like the puzzle has settled into your brain, and you can just sit back and admire the beauty of it, and you know the struggle was worth it. There's a difference between looking something up in a manual, and then finally getting it yourself. What is important here is that you go from knowing the answer, to figuring out the answer AND knowing it.

That point when you finally see something is the case, is called the "Aha" feeling.

In most of the games, the gamer has to struggle through dungeons, solve difficult puzzles, and defeat tough enemies. Towards the end, he often encounters a secret room with a special item like the raft, silver items, or hookshot, etc... When you get the item, and those four familiar notes ring out, it can be seen the gamer is being rewarded for his struggle. The gamer feels a sense of gratification, accomplishment, or the "aha!" feeling.

Join me in Part Two as I discuss "Why We Care About the Princess".

Tuesday, December 7, 2010



(This interview is with Jason Copland and Michael May, two very good friends of mine who have a creative work they've brought to the public, called KILL ALL MONSTERS! I am biased, in that I know both well, and don't intend to chew any new assholes with this, but, the work speaks for itself, they are doing incredibly good work. Please click the images for a bigger, more clear and stunning look...)

Alex Ness: What is the concept?

Jason Copland: Giant Robots fighting Giant Monsters set in the near future.

Michael May: That pretty much sums it up. I always like to add though that it’s a future where the monsters have already won the war. They’ve obliterated most of humanity and left only a few people scattered across the world to fight back. Which they’re about to start doing, in spades.

Who came up with it?

MM: The idea to do a book about giant robots fighting giant monsters was all Jason’s. But some yahoo named Alex Ness came up with the basic world that the story would be told in, for which I’m eternally grateful. I came up with the story we’re telling and created the characters, but you created the starting point and it’s been a lot of fun building from that.

Why a webcomic?

We’ve been working on it long enough that comics formats have changed as we’ve developed it. We originally conceived it as a traditional mini-series broken up into periodical issues, but as graphic novels started to become more prevalent, we started thinking of it in those terms. Even then though, a lot of the publishers we pitched to still wanted to publish single issues and it was tricky. Not knowing how it would eventually be released, we had to keep our minds open to either format.

Eventually though, we realized that weren’t getting any firm commitments from publishers. We had a couple who were interested, but no one was saying, “Let’s print this thing!” So Jason and I decided to take matters into our own hands. We know we have a cool story; we just want people to be able to read it and the Internet’s the easiest way to do that right now. We’ll figure out how to make money on it later.

What popular culture works have influenced this work?

For me, mostly Shogun Warrior comics and Godzilla movies.

MM: I didn’t grow up with a lot of giant monster/robot stuff. Other than King Kong, I don’t know that I saw any of the classic stuff until after we started working on Kill All Monsters. I was aware that stuff like Godzilla and Voltron existed, but I never watched it.

Probably the thing that more directly influences my storytelling style on this than anything else is the first Star Wars movie. Not plot-wise, but in lots of other ways: from how the story starts in the middle of a battle to the way the characters interact with each other to its PG-rating. Our main characters Spencer, Akemi, and Dressen aren’t direct analogues to Luke, Leia, and Han, but I wanted them to have a similar camaraderie in the way they work together. I want Kill All Monsters to have the same sense of fun that I experienced when I first saw Star Wars in 1977.

I should mention though that I had some help in applying that influence. I originally conceived a much darker story and Jason and I actually created an entire first issue from it. It focused on how bleak the KAM world is and was mostly a character study about what it would be like to live in that world. At the time, our friend Jason Rodriguez was helping us develop the book and he wisely questioned my approach; especially about how low-key the ending was. He told me we needed a big climax. “You have to blow up the Death Star,” he said. That was a defining moment for me. It not only completely changed my ending for that first version of the story, it contributed to our eventually deciding to scrap that version altogether and come up with a bigger, more adventurous story to tell.

Why does Jason talk weird?

Jason: I don’t know what you are talking aboot, eh.

Is the intent with Monsters needing to be killed to make it Kaiju big monsters or more Cloverfield big monster scary?

MM: Hm. If I understand the distinction, then it’s probably more Cloverfield than Godzilla. Or at least, it’s more Cloverfield than what Godzilla eventually became. We owe a lot to the original Gojira though, which had much more in common with Cloverfield than it did with – say – Son of Godzilla.

Our giant monsters aren’t at all heroic and they rarely fight each other. They’re more forces of nature. Again, more like the original Gojira, our monsters were created by human technology that perverted nature and came back to bite us on the butt. There’s a huge theme about technology vs. nature that runs through the story. It’s just as important for us to think about today as it was in the ‘50s when Gojira came out. We need to be scared about the influence our technology is having on the planet.

Michael what movie monsters do you dig?

MM: In any other context, I’d go straight to the Universal monsters from the ’30s and ‘40s. Especially Frankenstein’s Monster and the Wolf Man. I love how human those guys are in spite of their monstrous appearances (and sometimes, actions).

But if we’re talking about giant ones, I’ll start with Godzilla as portrayed in the first couple of movies. Not that I hate the sillier Godzilla or anything. Another favorite is Mothra, who’s very much from that goofier world. And I love her because she’s so kind and unmonstrous with her island of peaceful worshipers and little fairy priestesses. I don’t so much dig the influence she had on Godzilla, but I like her.

On the flip side of that, I like King Ghidorah because he has the guts to stay evil. At least up to the point where I am in the series. I’m only just now digging into those movies.

Oh! Can’t forget King Kong. Especially as portrayed in the Peter Jackson version. I know that’s an unpopular thing to say among hardcore fans, but I never really felt Kong’s plight until I saw Jackson’s film. I intellectually acknowledged that Denham did a crappy thing, but I never felt anything about it. Jackson’s movie makes me cry.

My son and I are currently watching the Firebreather movie on TiVo and also really like Belloc. I can’t wait to dig into the comics and learn more about him.

After a while would you publish this yourselves if it does not get picked up for print?

We will definitely print this ourselves if no publisher steps up.

Imagine this work in film, how could it be brought to life, would it have to be cartoon?

No, I think it would work as a traditional film.

MM: It would be cool to see as a cartoon, especially if someone like Genndy Tartakovsky was to do it (if, you know, he wasn’t already doing giant robots vs. giant monsters on Symbionic Titan). But I agree with Jason. There’s no reason it couldn’t be done as a live-action movie and it makes me extremely giddy to imagine it that way.

Where can everyone find the work?

Jason: Here or Here.

MM: We’re the only comic at the Kamikaze website for now, but as Kamikaze adds to its pool, we’ll share that spot with other comics. The Review2AKill address Jason mentioned is exclusively us.

Giant monster/robot fans can also get updates on the comic as well as other giant news at our blog.

Monday, December 6, 2010

Wednesday, December 1, 2010

Gamer Reviews: Majora's Mask

In the year 2000, following the success of the big hit, Legend of Zelda: Ocarina of Time, Nintendo pushed out a title called The Legend of Zelda: Majora’s Mask, a direct sequel to the story of the Hero of Time. The game used the same engine as Ocarina of Time, retaining the concept of dungeon and over world exploration, but added in a whole lot of character development, massive amounts of side quests, and a time system. Because the developers used the same game engine and graphics of Ocarina, Majora’s Mask took only 18 months to complete, which is pretty good for a Zelda title, which can take 3-6 years to complete on average.

What is staggering about this game is the sheer amount of gameplay. While Ocarina of Time was decidedly linear, Majora’s Mask has the ability to let you skip around a bit. Now, it’s not anything like Morrowind, but coming from the somewhat linear storyline of Ocarina, it’s a nice change of pace.

Majora’s Mask was first named Zelda Gaiden, which, in rough translation, is Zelda Sidestory. Interestingly enough, in the year 1999, Famitsu released a statement saying that the long-planned Zelda expansion for the 64DD was underway in Japan. This is what was originally planned for Ocarina of Time, but never came to fruition. This was called Ura Zelda, and was supposed to expand Ocarina’s levels and designs. However, since the 64DD never took off, this would later be released as Ocarina of Time: Master Quest, which was bundled with the original Ocarina for the Nintendo GameCube and could be gotten with a preorder of The Legend of Zelda: Wind Waker.

Screenshots were finally released, and you could see the familiar elements that Majora’s Mask still has in it. Finally, Nintendo released the finished product in March of 2000. Majora’s Mask requires the use of the 4MB Expansion Pack, which enabled greater draw distances (the amount of land you see on the screen at one time), more accurate and dynamic lighting, detailed textures, and complex frame buffer effects, such as motion blur, plus allowing more characters on the screen. Building interiors are also rendered in real-time, unlike the fixed 3D feature in Ocarina, which some critics called “blurry”.

Now that we have the technical side, let’s talk about the storyline.

This is the first Zelda to really have a rather dark tone in it, which many fans didn’t like. They were used to the neutral tones of the stories, not really having a dark or a light side to it (not counting the obvious dark/light tones of A Link to the Past). This Zelda title became the black sheep of the series.

The game is set in Termina, a parallel universe to Hyrule. There are tons of speculations on what exactly Termina is when compared to Hyrule, which can encompass a whole article on it’s own. I have plans to make that article too, and it will be a series concentrating on the philosophy side of the Zelda series. But for the sake of brevity here, we can just refer to Termina as an alternate Hyrule.

Termina, according to legend, was split into five areas by four magical Guardians that live in the compass points of the land. At the center of all this lies Clock Town, which boasts a large Clock Tower that counts down the days until the Carnival of Time, a major festival each year in the land.

The game starts out with Link riding through a forest, presumed to be the Lost Woods (once again, speculation--it is never actually revealed). He is searching for an unnamed friend (Navi, the fairy helper from the first game, some like to think), when a character named Skull Kid and his partner fairies, Tatl and Tael, steal Epona (Link’s horse), and the Ocarina of Time from Link. Naturally, this makes Link a bit cheesed off with Skull Kid, and proceeds to chase the thief through the forest. One transformation later, and you and Link are thrust into a strange world filled with familiar people.

Oh, and you have a time limit.

Three days to be exact, which takes up 54 minutes in real-time. There is an on-screen clock where you can track your progress, and once you get the Ocarina of Time back from Skull Kid, you can turn time back to the first day, thus forcing you into the three-day cycle until you can save the world from it’s impending doom.
What is this doom? Just look up. Yep, the moon is about to crash into the land.

You can’t have a good story without good gameplay, right? Some might argue that, but Majora’s Mask has both, so it’s a moot point. There are four main temples to beat in this game, which might sound a bit lax in the game play department, but never fear! The temples aren’t the point of this game anyway. Masks and side quests are the name of the game this time. Masks are obtained in side quests, which are usually integral to the game, as well as outlining major character development.

There are three main masks you can get which changes your appearance and abilities: Deku Scrub, Goron, and Zora. In later temples of the game, you can use these masks to combine your powers to finish an area. Songs also play an important part in Majora’s Mask. You can use songs you play on your ocarina to alter time, warp, awaken, heal, and change the weather. The ocarina usage is pretty much exact from it’s predecessor, Ocarina of Time.

So what’s bad about the game? Now, the good far outweighs the bad, but what is bad is annoying. Saving the game isn’t like the good ‘ol days of Ocarina of Time, where you could save anywhere you wanted. In Majora’s Mask, you have two choices. You can either save and return to the first day, or you can find checkpoints marked by a statue of an owl. When you save and return to the first day, you lose all collectable items like bombs, arrows, and everything you’ve done in a temple so far is reset.

If you don’t want to do that, you can save at an owl statue, and when you turn the game back on, it’ll start you right back where you left off. The trick is you have to turn back time again once you’ve completed your objectives for that cycle, or else you’ll have to save at the owl statue.

Sound complicated? It is. It’s a glaring flaw in an otherwise great game, but we have it better than the Japanese version of the game, which doesn’t even have the owl statues.

The other thing that might cause people to shy away from this game are the side quests. Some people just aren’t side quest people, they like the main dungeons and overworld exploration. The world of Majora’s Mask is large, but when compared to Ocarina of Time it feels a bit cluttered and shoved into a too-small bag. Granted, there are lots more things to do, and the land doesn’t feel barren and empty, but it doesn’t have that grand, sweeping scale to it.

However, I can put this up to being part of the design. The very essence of Majora’s Mask makes you uncomfortable, and you never really feel at home in this strange world. This works brilliantly when combined with the claustrophobic feeling of the land design. If Majora’s Mask’s story was in Ocarina of Time’s over world, it would fall flat.


Solid gameplay
Developed storyline
Impressive graphics for N64
Odd save system

You can obtain Majora’s Mask for the Nintendo 64, the GameCube Collectors Edition Disc, and Virtual Console on the Wii console in the Shop Channel.