“Swamp. Mountain. Ocean. Canyon. Hurry…the four who are there…bring them here!”
Tael’s cryptic message, once little more than an enigmatic riddle plaguing the minds of our puzzled heroes, now echoes with stark clarity as Link sends out the clarion call to the four regions of Termina. Magenta clouds swirl anxiously in the pale azure sky, heralding the dawn of the apocalypse, as the Moon — with a menacing glower permanently carved into its craggy visage — prepares to annihilate this prosperous land with one incredible, fiery shock wave. But this time, we won’t be turning back the clock to more peaceful days filled with oblivious optimism. The time has come to summon those who can halt the calamity in its tracks.
From each of the cardinal directions they appear: the towering primordial spirits, whose gentle eyes have observed the passage of time since the very beginning. Unencumbered by the thunderous rumbling of the earth, they begin their trek towards the ill-fated Clock Town, calmly eyeing the demonic, astronomical body that threatens all they hold dear. Now that all four of them have been freed from their respective prisons, only 100 steps separate them from their ultimate destiny.
Only 100 steps to salvation.
This awe-inspiring moment that sets the stage for the final chapter of Majora’s Mask is, by far, my favorite cinematic cutscene in the entire Zelda series. The chilling imagery and hauntingly sparse soundscape convey the utter horror and desolation of witnessing the destruction of an innocent world. It juxtaposes with the sense of wonder one feels when the Giants stop the Moon through sheer strength and willpower, preventing the deaths of hundreds. And I think that the real icing on the cake here is the “Calling the Four Giants” theme. It’s a stunning choral rendition of the “Oath to Order”, perfectly capturing the dignified beauty of these mysterious guardian entities who carry the weight of the whole world on their shoulders.
This is one of those flawless compositions that strikes a powerful chord no matter how many times I hear it, and I’ve never been able to find a cover or remix that manages to improve upon it.
Until just recently, that is.
Earth Kid, an extraordinarily versatile instrumentalist, presents us with an otherworldly ambient arrangement that not only elevates the Giants to grander heights than ever before, but also explores the turbulent emotions that they may be concealing behind masks of stoicism. Harp, ocarina, and soprano recorder take turns carrying the melody, lending elegance and airiness to the piece. Meanwhile, electric guitar and bass (performed by musician Bullicann) provide a surreal sense of gravity, with strong percussive beats occasionally punctuating the melody to symbolize the Giants’ footsteps.
Listening to this composition that so beautifully simulates Termina’s spacious landscape, one suddenly becomes uncomfortably aware of how tiny they are compared to these benevolent pillars of creation. And when they begin to sing, it’s like the heavens themselves have split open to allow them to fully bear their souls.
Earth Kid’s vocals are, without a doubt, the star of this arrangement, allowing a rare glimpse into the darkness that surely lurks within the minds of the Giants. We shouldn’t forget that the tragedies of the present in Majora’s Mask are due in part to the frayed relationship between the Giants and the Skull Kid, as the former’s perceived abandonment of the latter was what prompted the initial wave of pain and suffering that swept through Termina. While the game doesn’t really explore the lasting impact these events have on the Giants, guilt and sorrow permeate every note they sing in this remix. From quiet, mournful chants to bellows of anguish, their grief is so palpable that I can’t help but tear up whenever I listen to it. In the end, they never wanted to hurt their friend, and having to forsake him in order to stop the madness must have left an indelible mark on their hearts.
But what really drives the message home for me is how, at the end, the melody switches from the “Oath to Order” to the “Song of Time.” I’m probably overthinking this as usual, but my interpretation of this shift in motif is that, in their own subtle way, the Giants are acknowledging that they’re afraid of confronting the past. A part of them wishes to turn back time once more, to delay this inevitable mission just a little while longer. But they also know that if they don’t proceed, the people they swore to protect will never again know peace, and they themselves will forever lose their chance to make amends with their wayward friend.
So, the four Giants resolutely march forward, taking the first of 100 steps towards a brighter future for Termina and, hopefully, a long-awaited rest for their own weary souls.
