Review of World of Warcraft (Boss Fight Books) by Daniel Lisi

It’s summer reading time! As a quick and light read I picked up World of Warcraft by Daniel Lisi, part of the Boss Fight Books series. While I’ve normally had a good experience with these books (ok, I’ve only read one so far), this book was just mediocre.

I guess I’ve been fed too much on a diet of academic books, so like I mentioned with my review of The Psychology of Zelda, sometimes its hard for me to read these casual books targeting non-academics. I’ve been a huge fan of video essays on YouTube, and feel strongly that there is an in-between audience, those who are wanting something pseudo-academic, perhaps on the level of an undergrad essay (or maybe even an AP English Literature essay) that breaks things down in a smart, and objective way, while still being approachable and fun to read. So whenever I pick up a book like the Boss Fight Books, or something similar, I am hoping to have some smart things to read and something to stimulate my analytical brain.

This book however doesn’t really do that for me. It does take a very personal account with the game, outlining how the author experienced World of Warcraft as a teen in high school. Which should have worked on some level, but I felt that for the most part these stories and personal accounts didn’t add much to what any player of WoW knows about (raids are a serious commitment, you can find love online, there are some harassment issues, guilds are a full-time job, serious players have dropped off over time). I kind of wish there was some kind of analysis that would appeal to actual players of the game, instead of just explaining what WoW is like to non-players, which is what this book felt like.

So for the very surface level commentary on the author’s life experience with WoW, and its lack of analysis or engaging with the reader, I give this book two out of five hearts.

Majora’s Mask: Purgatory

Below you’ll find an abridged chapter from my latest book, The Symbolism of Zelda: A Textual Analysis of Majora’s Mask. I tackle the topics of purgatory, time loops, and if Link is dead.

One of the most fascinating interpretations of this game that I found in my research are those that define this game by its relations to purgatory. There are many similarities between the religious concept,¹ as well as evidence to suggest that Link is in the afterlife. However, before I get into a common Zelda theory about Link’s death in this game (I’ve skirted around the details in other chapters), I first want to address some of the evidence that relates to the land of Termina and the atmosphere of this game.

As this book has outlined, this game grapples with darker themes and philosophical questions very unlike other Nintendo games, let alone Zelda titles. As I’ve mentioned previously, Miyamoto requested a quicker production and that this sequel use the game engine developed for Ocarina of Time.² With these constraints, the team found creative solutions to these requests, such as recycling assets and implementing a three-day time mechanic.³

It’s been argued that without these constraints, the game wouldn’t have taken as many risks,⁴ however with these creative solutions the game has a noticeably different atmosphere.⁵ Seeing familiar characters that you knew and loved from Ocarina of Time, but are strangers and often very different, is unsettling.⁶ These mirror-universe versions of old characters seem more in line with what Dante found in the classic narrative poem, Purgatory.

Concept of Purgatory

Before we dissect what it means for Link to be in purgatory we must first delineate what this theological concept means. The concept of purgatory is not held by all Christian denominations;⁷ to the Roman Catholics it is “a place of temporal punishment for individuals who have not sufficiently repented before death,” and to some purgatory is a growth process of sanctification that continues after death.⁸ In the case of Majora’s Mask, many critics and scholars (myself included) argue that the game more aligns with the second model of purgatory—a place of sanctification—and less about a place of punishment for sins.

This is also how Dante imagined purgatory. In his representation, purgatory is the second realm in the afterlife, where those who died in God’s grace prepare for Heaven.⁹ In Dante’s poem, the inhabitants of purgatory suffer in order to complete their penitence. This theological concept was shaped during the Middle Ages, and is part of the doctrinal disagreement for the Protestant Reformation.¹⁰ While the Bible does not mention explicitly purgatory, references to “purging fires” are what led medieval theologians to introduce the idea.¹¹ With this in mind, it is an easy connection to make that Termina can be construed as Link’s form of purgatory.

When examining the game itself, it is easy to see where this conclusion comes from. The land of Termina seems to give it away, as it shares the same root as the words “terminal” or “terminate,” hinting at the end as well as a waiting period.¹² The plot of the game, and all other Zelda games really, centers around a protagonist who is too weak to defeat the bringer of death, and must instead progress and improve for the climactic battle. So in Majora’s Mask, the player and Link are trapped in a middle-stage that allows for a type of sanctification or perfecting process to occur.¹³

A lot of what happens in Termina feels like a process of self-improvement. Beyond the explicit goals of conquering the four dungeons and releasing the giants, the game also includes an underlying goal of improving the self.¹⁴ Through Link’s hunt of Skull Kid, he engages in quite a few adventures that mirror in many ways the soul’s sanctification after death.¹⁵

Link makes minor improvements that are outside the effects of the time loop (gaining masks, learning songs, awakening the giants). And he also learns about the lives of the citizens of Termina so that he can solve their problems. These improvements of Link’s character—or the progress you make as a player—mirror the Christian theology of the soul and reveal the connection of our spirits to our identity.¹⁶ And perhaps central to the theology of purgatory is the concept of free will—also championed in this game of freedom and choice—because purgatory is a chance for individuals to choose to change, and the consequences of their bad choices weigh upon their souls in the afterlife.¹⁷

Purgatory, then, is also an alternate world, one similar to our own, but in the realm of the supernatural. This is also made apparent to the player when they first enter Termina, as they fall into a very dark and deep pit, and emerge in a gravity-bending hallway, leaving behind Hyrule and entering a new and mystical world.^{18, 19} This game treats players like Dorothy and throws them into the Land of Oz, with the recycling of characters and assets that are familiar, and yet different.²⁰

A great example of a secondary world much like Termina is the Upside Down from the Netflix show Stranger Things. It is a supernatural, alternate universe that stands in contrast or parallels this world.²¹ Termina also clearly parallels Hyrule, with its characters and world design borrowed from Ocarina of Time. And as a secondary world (like that described by Tolkien), Termina includes fantastical and strange monsters such as the bat-like keese, or the crab-like tektikes, and the chicken-like cuccoos.²² Tolkien found that secondary worlds are the pinnacle of storytelling,²³ which would make sense to me when discussing the land of Termina. The strength of this game’s world comes from it being an alternate or mirror universe—a secondary world—to what the player is accustomed to. And with that in mind, can’t it be interpreted that this secondary world is actually a form of purgatory?

Time Loops in Film

This game is repeatedly compared to the Bill Murray movie Groundhog Day, wherein the protagonist must complete the same day over and over until he breaks free of the time loop by solving everyone’s problems. That thoughtful film explores the consequences of living in purgatory, of repeating a life until sanctification occurs (when the protagonist lives a perfect day).

Bill Murray’s character in Groundhog Day finds himself trapped in the same day over and over, and tries to discover the purpose for this time loop. In another popular movie, The Edge of Tomorrow, Tom Cruise’s character finds himself in a similar situation, except he has an end goal of defeating the invading aliens who gave him this curse of being in a time loop.

Tom Cruise’s character, while also in a time loop, has an end goal to work towards, and each cycle brings him closer to the end. Both of these characters, and their exploration of time loops explore similar themes as Link in Majora’s Mask. Link simultaneously has to uncover the mysteries of Termina and the lives of its inhabitants in an open-ended adventure, while also making small steps towards his end goal of defeating the villainous Majora’s Mask and ending the time loop. All of these characters—Link, Bill Murray, Tom Cruise—are trapped within a purgatory of sorts, where self-improvement is the only way out. These examples of time loops within fiction also represent personal purgatories. And when it comes to the concept of purgatory, no other work of fiction is canonized like Dante’s poem.

Dante and Link

There are so many similarities between Dante’s Purgatory and Majora’s Mask. Dante’s epic poem begins with Dante and Virgil entering through a door into the world of purgatory, where souls are educated and weaned from sin.²⁴ This moment mirrors Link’s entrance into Termina, opening the door of the clock tower after having crawled through the darkness and the dungeons. And it is fitting that every new three-day cycle begins with Link standing at this door, reminded of the threshold he crossed by entering Termina.

Some major themes of Dante’s Purgatory include explorations of humility and pride, a world clock, earthly fame, and free will. The characters that suffer in purgatory must submit to their humbling trials, and overcome their pride to escape. These characters in purgatory petition for prayers on their behalf, like those in mortality, can help them in their afterlife. And in Dante’s poem, the realm of purgatory centers on a clock and the passing of time from this world clock.

These themes can also be found in Majora’s Mask, where Link’s adventure also grapples with these philosophical questions. Being a tale of death and the afterlife, it makes sense for this game to explore religious and philosophical boundaries, to let the player discover for themselves what death means to them.

As mentioned before, this entry in the Zelda series breaks the tradition of a clear Hero’s Journey and a narrative that emphasizes the power and importance of Link as the “chosen one.” Other entries, such as The Wind Waker and Ocarina of Time, rely upon the monomyth or Hero’s Journey as defined by Joseph Campbell.²⁵ This structure is common to all myths and legends, outlining the process by which heroes save the day by overcoming adversity and gaining strength.

However, this game humbles the player, who must obey the game mechanics of the three-day game cycle. The NPCs also don’t build up Link’s greatness, stripping him of the pride that accompanies most Zelda games. There are also other characters within the game that grapple with pride and humility, such as the King of Ikana.

But the most important example of prayers within this game are the pleas for the giants. These four supernatural creatures represent deity in this game,²⁶ and the major goal that drives the player is to summon these deities to save the day. Calling upon the giants is a type of prayer, a plea to a deity to prevent the destruction of Termina.

The next major theme shared is the influence of a world clock. The game centers on a constant ticking clock and the oppressive nature of this countdown is the center of the screen. It is impossible for the player to avoid the influence of time, and how its flow is the true villain of the story. Not to mention the giant clock tower that is central to Clock Town, which is central to Termina, and the game returns frequently to this capital city.

Climbing the Mountain of Purgatory

Central to the story of Dante’s Purgatory is the act of climbing the mountain. This metaphor is similar to the act of descending through the rings of Hell, and ascending the mountain in Paradise, all of which represent a change and transition process that Dante explores to understand the levels of goodness or badness of people in any of the three realms. Below is a figure of this mountain:

Figure 20: Mountain of Purgatory

And while it is possible to find various characters throughout the game who represent the various sins and progression of this mountain, it would fail to represent the story of the game.  Below is my new model though, that is embodied by the five transformation masks:

Figure 21: Link’s Terraces of Purgatory

These stages align with the role of the hero and represent various challenges that Link and the hero overcome in their pursuit of becoming legendary. First Link must battle with insecurity and the feeling that he isn’t good enough to be a hero. After overcoming his insecurities Link then must battle with comparison, and living in the shadow of another. Link doesn’t receive any praise or appreciation for his hard work, but when he moves past his comparison he enters the next trial of his purgatory.

Next Link grapples with the thoughts of failure, as he takes upon himself the quest of another fallen hero Mikau. Finishing this assignment from Mikau reminds Link and the player that not every challenge can be overcome. After coming to terms with failure and the consequences of the heroic quest, Link then must overcome the ego. He receives the Giant’s mask which grants him the ability to transform into a giant, but he cannot use any of his tools or items.

And the last stage in Link’s purgatory is one that technically doesn’t happen in every playthrough of the game. The fact that the last transformation mask is optional, and only obtained as a reward for completing all the side quests and relinquishing the many masks, is highly symbolic. This is the apotheosis of Link, where he literally becomes a god with the Fierce Deity Mask. This final transformation represents the final reward, saved for the most select and mythic of heroes, where they mature and let go of their past and become something greater.

This game, unlike any other I know of, creates meaning with the player as they explore parallel timelines in order to understand the effects of their actions.²⁷ this mechanic relates to the theology of sanctification in purgatory. It is also worth noting that in Dante’s poem the realm of purgatory is a temporal realm and most closely reflects life on earth, including the passage of time.²⁸

Link’s Death and Time in Purgatory

But now that I’ve addressed my evidence for how and why this game takes place in purgatory comes the need to address another popular theory. The argument that Link is in purgatory leads to the assumption that Link is dead.

So is Link dead? MatPat’s video definitely makes that argument. And while I do follow his argument and find his evidence strong, I feel that first, we need to decide how Link can die. At least, who makes that decision, does the creator/author, or does the player/reader decide? This debate, as to who controls the story, the author or reader, is waged frequently within fandoms of fiction. But when it comes to novels, the lines are fairly clear: there is one author who pens the story (aided by editors), and a group of fans who read it.

In the development of a video game though, there are loads of people working on it, if not hundreds. The sheer amount of creative minds working on it means that no one individual has the final say on the “intention” of the game. The director of the series, as well as the director of the game Majora’s Mask, have both stated that Link is not dead.²⁹ But like I’ve pointed out, to them Link isn’t dead. But what about all the others who proposed storylines, designed characters, and wrote the dialogue? How many of them had a vision that could be contrary?

But even then, the argument crops up all the time: if the author didn’t intend for this interpretation, does it still matter? (Yes it does: see Crash Course Literature³⁰). Even if the creators of Majora’s Mask didn’t think Link is dead, then anyone who reads the game and draws that conclusion from the evidence can still be right. That’s the beauty of art, it is open for interpretation.

I feel that there is ample evidence that this game is an exploration of grief. Many of the characters struggle with the death of loved ones, and the darker tones of the game embrace this theme. However, it is up to you to decide if you think this purgatory that Link adventures through is part of his suffering or merely an allegory for the purification and heroism he must perform.

And yet another misinterpretation is that for Link to be in purgatory he must be dead. Which isn’t necessarily true: Dante wandered through the afterlife (including purgatory) without dying. And the other time loops mentioned in this chapter (Groundhog Day and Edge of Tomorrow) also don’t include the death of their protagonists.

While the literature of the series—such as Hyrule Historia—state clearly that Termina is an actual place, a world created by the goddesses like Hyrule.^{31, 32} this evidence doesn’t necessarily mean that Link can’t be dead or in purgatory. It is possible for a ghost to remain in the land of the living, and it is also possible that Termina is a secondary world where Link could be dead, or where people are sent for purgatory (dead or not).

The two major Zelda theories I’ve discussed in these two chapters (the five stages of grief and Link is Dead) are often seen as connected, undoubtedly due to MatPat’s video where he inferred that Link must be grieving his own death.³³ so scholars like Vortex say that if the five stages of grief is untrue, then the Link is dead theory is also untrue.³⁴ And where I don’t believe that the five stages of grief model truly applies to Majora’s Mask, I do think that Link can be dead, or at the minimum is in his own personal purgatory. I think that as a player of this game I am allowed to have my own interpretation, regardless of what the creators have said. That’s what makes video games art: we are all free to have our own opinions about it.

 

Notes

 

1. Blanchette, K. (2011). Linking the landscapes of Twilight Princess and Christian theology. In J. Walls (Ed.), The Legend of Zelda and Theology (p. 18). USA: Gray Matter Books.
2. Juster, S. (2011). Majora’s Mask. Well Played 3.0: Video Games, Value and Meaning, 3, 157.
3. Patrick, M. [The Game Theorists] (2013, November 9). Game Theory: Is Link dead in Majora’s Mask? [Video File]. Retrieved from https://www.youtube.com/watch?v=7S1SVkysIRw.
4. KingK (2017, February 20). Majora’s Mask retrospective [Video File]. Retrieved from https://www.youtube.com/watch?v=Zp5hNL5v54U.
5. Juster, (2011).
6. Ibid.
7. Blanchette, (2011), p. 23.
8. Corman, J. (2011). Take your time, hurry up, the choice is yours: Death and the afterlife in The Legend of Zelda: Majora’s Mask. In J. Walls (Ed.), The Legend of Zelda and Theology (p. 102). USA: Gray Matter Books.
9. Raffa, G. (2009). The complete Danteworlds: a reader’s guide to the Divine Comedy. University of Chicago Press. p. 121.
10. Ibid.
11. Ibid.
12. Corman, J. (2011), p. 99.
13. Ibid., p. 104.
14. Ibid., p. 105.
15. Ibid., p. 98.
16. Ibid., pp. 97-98
17. Raffa, G. (2009), p. 174.
18. Corman, (2011), pp. 99-100.
19. Costikyan, G. (2005). I have no words & I must design. In K. Salen & E. Zimmerman, (Eds.), The game design reader: A rules of play anthology. MIT press. p. 194.
20. Patrick, (2013).
21. Tallon, P. (2011). The birth of gaming from the spirit of fantasy: Video games as secondary worlds with special reference to The Legend of Zelda and J. R. R. Tolkien. In J. Walls (Ed.), The Legend of Zelda and Theology (pp. 51-52). USA: Gray Matter Books.
22. Ibid., p. 64.
23. Ibid., p. 57.
24. Armour, P. (1983). The door of Purgatory: a study of multiple symbolism in Dante’s Purgatorio. Oxford University Press. pp. 100-101.
25. Kuniak, S. (2019). It’s dangerous to go alone: The Hero’s Journey in The Legend of Zelda. In A. Bean (Ed.), The Psychology of Zelda (pp. 23-58). USA: Smart Pop.
26. Tallon, (2011), p. 57.
27. Grieve, O. (2008). Gaming in the Round: The Overlooked Potential of Player-Controlled Perspective. MA Thesis, Brunel University in Uxbridge. p. 18.
28. Raffa, (2009), p. 133.
29. Rumphol-Janc, N. (2015, February 24). Debunked: Why the Link is dead theory is wrong. Zelda Dungeon. Retrieved from: https://www.zeldadungeon.net/debunked-why-the-link-is-dead-theory-is-wrong/.
30. CrashCourse (2012, November 15). How and why we read: Crash Course Literature #1 [Video file]. Retrieved from: https://www.youtube.com/watch?v=MSYw502dJNY.
31. Rumphol-Janc (2015).
32. Miyamoto, S., Miura, K., & Aonuma, E. (2013). The Legend of Zelda: Hyrule Historia. eM Publications. p. 111.
33. Patrick, (2013).
34. VortexxyGaming, (2015, September 3). The Legend of Zelda theory: Five stages of grief [Video File]. Retrieved from: https://www.youtube.com/watch?v=nRaMR_SwmMo.