Revisiting Majora’s Mask: Death and the Five Stages of Grief

The Legend of Zelda: Majora’s Mask has long been celebrated for its dark, emotional narrative and unique gameplay mechanics. Released for the Nintendo 64 in 2000, this iconic game invites players to explore a hauntingly beautiful world teetering on the edge of destruction. Beneath its surface lies a profound allegory about grief, offering a narrative that resonates deeply with players.

In this article, we’ll explore how Majora’s Mask embodies the five stages of grief as described by the Kubler-Ross model, weaving a tale that’s as poignant as it is unforgettable.

The Kubler-Ross Model: A Brief Overview

The Kubler-Ross model, also known as the five stages of grief, outlines a framework for understanding how individuals cope with loss. These stages are:

1. Denial

2. Anger

3. Bargaining

4. Depression

5. Acceptance

Though not everyone experiences these stages in the same way or order, they provide a lens through which we can examine the emotional depth of Majora’s Mask.

Denial: Clock Town’s Blissful Ignorance

In the game’s opening moments, Link arrives in Clock Town, a bustling hub preparing for the Carnival of Time. Despite the looming threat of the moon crashing into Termina, many residents remain in denial about their impending doom. Their reluctance to face reality mirrors the first stage of grief, where individuals refuse to accept a loss.

Clock Town’s vibrant music and cheerful facade serve as a stark contrast to the apocalyptic undercurrent, emphasizing the townsfolk’s collective denial. As the days pass and the moon’s descent becomes more apparent, cracks in this denial begin to show.

“You cowards! Do you actually believe the moon will fall? The confused townsfolk simply caused a panic by believing this ridiculous, groundless theory. The soldiers couldn’t prevent the panic, but outside the town walls is where the danger is!

“You want answers? The answer is that the carnival should not be canceled! If the soldiers wish to run, then run, Viscen! We councilmen will stick to tradition. This carnival will be a success! I’ve never heard of a defense abandoning its town!” – Mutoh the Carpenter

[youtube=http://www.youtube.com/watch?v=7S1SVkysIRw&w=853&h=480]

This is the most frank example of the denial that exists inside of Clock Town, but this mental state is reiterated through the actions and demeanor of the townsfolk as well. Life cheerfully continues with carpenters building and preparing for the carnival. The whole area seems to refuse the creepy moon in the sky. However, on the third day, it becomes apparent that the danger has finally become too great to ignore. The merchants and carpenters will have evacuated. Even the swordmaster will retreat to a back room in his house where he succumbs to his fear.

Anger: The Deku King’s Fury

Anger manifests most vividly in the Southern Swamp with the Deku King. His outrage over his daughter’s disappearance drives him to imprison an innocent monkey, whom he believes is to blame. The king’s actions reflect the second stage of grief, where frustration and misplaced blame take center stage.

Through Link’s intervention, the Deku King comes to realize the truth and redirects his efforts toward reconciliation. This storyline highlights the destructive nature of anger and the importance of addressing it to move forward.

“We’re about to punish the foolish monkey who kidnapped the Deku princess! He has insulted the Royal Family. I’ll show him what happens when you do that! That foolish money is up in that cage. Take a good look at his face!” -Deku King

Link takes on the responsibility of purifying the water and saving the princess by reaching the temple. In order to enter, though, Link must learn the Sonata of Awakening which can lift the temple from its resting place.

Accepting the truth and focusing on reality pacifies the anger existing throughout Woodfall, in turn rescuing the land as well as the innocent monkey from the twisted anger of the Deku King.

Bargaining: The Goron’s Desperation

The bargaining stage is exemplified in the Goron tribe’s storyline. Darmani, a fallen Goron hero, pleads for another chance to save his people from the harsh snowstorm that plagues their home. His spirit’s desperate wish for redemption reflects the third stage of grief, where individuals negotiate for a way to reverse their loss.

Link’s role in assuming Darmani’s identity and restoring warmth to the mountains symbolizes the resolution of this bargaining phase. By addressing the tribe’s suffering, Link helps the Gorons find a path forward.

“As I am, I can only watch as Goron Village is slowly buried in ice… I may have died, but I cannot rest. So, you can use magic? The soaring one also told me that you are able to use it… I beg you! Bring me back to life with your magic!” -Darmani’s Ghost

Gone is the anger Link experienced in Woodfall, but here is another example of how desperation can drive certain beings when faced with death. Darmani is unable to accept that he has died and left his home to freeze. While the anger is Woodfall was displayed through the toxic water, I often see the snow in Snowhead as symbolism of Darmani’s inability to move on. He is frozen in a state of denial and frantic hope.

Depression: The Zora’s Lament

The Great Bay region’s storyline delves into the depths of depression. Mikau, a Zora guitarist, dies in Link’s arms after failing to save his bandmate’s eggs. His sorrow permeates the Zora’s domain, leaving a community in mourning.

As Link assumes Mikau’s identity to help the Zoras, he exemplifies the courage required to navigate the darkness of depression and bring hope to those left behind.

Acceptance: Ikana’s Redemption

The final stage of grief, acceptance, is embodied in the haunting land of Ikana. Here, spirits linger, trapped by unresolved regrets. Link’s journey through Ikana involves helping these souls find peace, ultimately restoring balance to the region.

Link climbs a tower leading into the heavens, a task that requires him to make twin images of himself to progress. These images mimic each of his four forms: the Deku, the Goron, the Zora, and himself. An interesting detail to note is the fact that each of Link’s masks come from a being already veiled by death. The first three are obvious, but including a shell of himself may perhaps stress that Link is dead as well.

By leaving these forms behind, Link can climb to obtain the light arrows which could possibly symbolize enlightenment. Another thing to focus on is the battle between Link and the Garo Masters. Their description details them as “emptiness cloaked in darkness.” Perhaps Link’s battles with them as he climbs could signify the battle between darkness and light to ultimately accept what has happened to him.

The Elegy of Emptiness, a song learned in this region, symbolizes the act of letting go. By confronting the pain of loss, Ikana’s spirits can finally rest, and Link prepares for his ultimate confrontation with Majora.

Another interesting thing to note is the constant presence of the number four. Link must progress through four stages outside of Clock Town in order to free the four giants from the temples. In Japanese numerology, the number four brings misfortune, kind of like how we place superstition on the number 13. The pronunciation “shi” is the same for the character that means “death.”

Majora’s Mask: A Tale of Healing

Majora’s Mask doesn’t offer a traditional “happily ever after” ending. Instead, it presents a journey of healing, emphasizing the importance of facing one’s emotions. Through Link’s adventures, players experience the catharsis of navigating grief, emerging stronger on the other side.

The game’s cyclical nature—with its three-day time loop—reinforces the idea that healing isn’t linear. Each reset offers a chance to try again, mirroring the resilience needed to overcome loss.

Although this is a theory that has long since been debunked, I look forward to playing through Majora’s Mask again, this time with this theory to accompany my gameplay.