#ᵃᶰᵈ ᵏᶰᵒʷᶫᵉᵈᵍᵉ ᶦˢ ᵖᵒʷᵉʳ; HEADCANONS.

[umbracado-blog]

Never forget: Majora, as Goddess of Earth, Death & Peace, was literally the most ‘grounded’ of the golden goddesses, which also explains why she spent so much time on Earth, with her creations, as opposed to in the aether with her sisters. NEVER forget that because Majora was trying to be a good, and involved mother, her ‘kids’ betrayed her, sealed her in a mask for a few centuries and tore her kingdom and people down to nothingness in her absence. 

The history of her people was erased over time, her name was struck from the records and regalia, and her people were relegated to simply defending the ‘better race’ of people who still had a goddess hanging around. 

And then, when Majora returned to life... When she finally got a chance to see the world she’d built with her sisters, finally got a chance to breathe again. . . the world not only erased and forgot her, but it reviled her in certain spaces. It rejected her. 

Majora’s a villain? Fuck out of here, Majora’s a hero... and Majora’s Mask is all about that hero and another hero butting heads about the best way to ‘save the world’.

[umbracado-blog]

MAJORA | GOLDEN GODDESS

Throughout the Zelda series, the three GOLDEN GODDESSES who created the world of HYRULE and the TRIFORCE (DIN, NAYRU, and FARORE) are repeatedly mentioned and are shown to be both real and extremely powerful, albeit usually hands-off concerning their creations. That said, there are a few other entities in the Zelda canon that are comparable, at least in terms of raw power or significance. Examples include Oshus from Phantom Hourglass and DEMISE of Skyward Sword fame, but this theory will be focusing on the big players in TERMINA.

The FOUR GIANTS of Termina seem to have a role parallel to that of the three Golden Goddesses. Though they are never explicitly said to forge the world of Termina from scratch, Locals say they were responsible for creating the four distinct areas surrounding Clock Town, which make up a majority of the game’s world. The fact that four of them working together can stop a flying celestial object shot at the world by a vengeful deity also speaks volumes about their power.

In fact, three of the Four Giants’ regions can be seen as reflections of Din, Nayru, and Farore.

Din, whose essence is in the TRIFORCE OF POWER, is also associated with fire and theGORON people, who tend to eat rocks and live around volcanos. SNOWHEAD in northern Termina is where the region’s Gorons live, the local Temple rewards Link withFire Arrows, and the Temple also requires Link to use his physical Power in his Goron form to break obstacles to complete the temple.

Nayru, the Goddess of Wisdom, is also associated with Water, Magic, and the ZORApeople. The GREAT BAY in Western Termina is home to the region’s Zora population, has obvious associations with water, rewards Link with Ice Arrows (Ice and Water overlap sometimes in Zelda) in its Dungeon, and contains a Research Laboratory. The Lab’s location and its being associated with Wisdom could be a stretch, but note that LAKE HYLIA, a location in Ocarina of Time associated with Nayru and the Zora, also has a Lakeside Laboratory. Plus, the GREAT FAIRY of Great Bay Temple grants Link a Defense upgrade, similar to the Spirit of Wisdom in Phantom Hourglass.

Farore, the Goddess of Courage, is the relative oddball of the trio, being associated with Wind, Life (especially Woods and Plants in Particular), Green, and races such as theKOKIRI and DEKU.family of creatures. The SOUTHERN SWAMP in Termina is dominated by the DEKU SCRUBS, who are not only plants but also capable of limited flight, using Deku Flowers to launch into the air. The basic bow and arrows that are unlocked in Woodfall Temple have no special magical characteristics, but note that even basic arrows are just flying pieces of wood.

This leaves one giant’s location, IKANA CANYON, unaccounted for. Ikana Canyon’s recurring motifs are the presence of death and the contrast between light and darkness. Death examples are easy to come by, such as the graveyard and presence of undead GIBDOS andREDEADS. Though this is the only region without a corresponding transformation mask, the Song of Healing can be used to obtain the GIBDO MASK, which tricks the undead into thinking Link is one of them. The infamous Elegy of Emptiness (elegies are laments for the dead) creates husks of Link’s current form that are necessary for completing Stone Tower Temple. TWINMOLD, the big boss fight in this area, resembles a worm or maggot, animals typically associated with death and decay. As for Light and Darkness, the Mirror Shield is obtained here, and STONE TEMPLE TOWER features the Light Arrows. Also note that the Tower itself is light-based despite being surrounded by darkness and death, and actually doesn’t include the Gibdos and Redeads found elsewhere.

So, why do three of the Four Giants match one of the three Golden Goddesses so easily, leaving only one exception? Maybe there is something else in Hyrule that corresponds to the last Giant, associated with the themes of Death of Light. For the sake of both the canon timeline and real life release dates, let’s mostly focus on Ocarina of Time’s incarnation of Hyrule.

Ocarina of Time largely focuses on other motifs until later in the game, using settings such as trees, caves, and really big fish for its dungeons. The two last regular dungeons in the game though (excluding Ganon’s Tower of DOOM) are almost exact matches. Also note that either one can be completed first and that both require more time traveling than any other dungeon.

The SHADOW TEMPLE (plus the Well) near KAKARIKO VILLAGE is based around the themes of Death, Darkness, and Deceit. They are packed with undead enemies, including the same variety of Redeads and Gibdos that haunt Ikana Canyon, STALFOS, DEAD HAND,BONGO BONGO, and those flying magic skull things (you know the ones… with the things).

The most useful treasure found here is the Lens of Truth, which sees through illusions. The temple is also loaded with various references to death and darkness, my personal favorite being the boat that is a “ferry to the other side,” almost certainly an allusion to Charon the ferryman from Greek Legend.

The SPIRIT TEMPLE, which is on the exact opposite side of the world, focuses mostly onLight. This temple requires playing as both a child and adult. Child Link needs to collect theSilver Gauntlets and Requiem of Spirit to complete the temple as an adult. Note the oddity of a Requiem (prayer for departing souls) being used to reach the Light Dungeon. As an adult, Link collects a Mirror Shield to solve Light-based puzzles. He also fights three IRON KNUCKLE enemies, which are also found in Ikana Canyon in Termina.

If we look for connections between Ikana Canyon and the fourth entity in Hyrule, we can guess that they were likely associated with either the GERUDO or SHEIKAH, much like how other races were associated with other goddesses. Their color of choice is likely purple, based on the purple color of the Shadow Medallion. Purple is another recurring color in Zelda, ranging from Player 4’s color in the Four Swords games, the Element of Earth in Minish Cap, and MAJORA from Majora’s Mask.

Yes, we finally got to Majora.

Let’s review what we know about Majora and its Mask. A long time ago (“ancient tribe” is a bit ambiguous), this mask was used by a now extinct group for magical rituals, but any more details in-universe are largely guesswork. Even the HAPPY MASK SALESMAN doesn’t seem to know that much about it, other than hinting that the mask was the home of a dangerous spirit rather than being an evil costume piece. Majora is also unbelievably powerful, seemingly far more so than Ganon ever was at any point in the series. Even the likes of Demise probably couldn’t destroy the world in a three-day weekend while still technically being bound within the mask.

And although the mask is too alien to easily empathize with or rationalize, it is obviously a conscious being, based on some of the game’s latter scenes and dialogue. It is also aware of what’s happening around it, as seen with the four children wearing boss-based masks on the moon indicate.

One thing that’s often overlooked, however, is that Majora likely came from Hyrule. That’s where the SKULL KID and Mask Salesman were found in Ocarina of Time, a short while before Majora’s Mask took place. The Mask Salesman also seems to have had Majora’s Mask for a while, but he can easily be found in CASTLE TOWN throughout Ocarina of Time, suggesting that he at least had it with him in Hyrule for a while. The game actually begins in Hyrule, when Link is ambushed looking for his lost friend. And even though Skull Kid and Majora curse a bunch of people, these all happen a relatively short time before Majora’s Mask begins, suggesting that Skull Kid only started using the mask very recently.

Last, let’s see what Majora itself had to say, both in person and via the Moon and moon children.

I wonder, if you do the right thing, does it really make everyone happy?

Your friends… What kind of… people are they? I wonder… Do these people… think of you… as a friend?

When a body is used by another, it can be called nothing but a puppet.

OK, let’s play good guys and bad guys… I’ll be the good guy, and you be the bad guy, and when you’re the bad guy, you just run.

Everyone has gone away, haven’t they?

That’s surprisingly insecure for a destroyer of worlds. And considering how Skull Kid has been left behind by the end of the game, it seems that this can not all be the thoughts of the Skull Kid still echoing in Majora. It’s as if Majora itself has some deep-seated issues involving trust. It questions the morality of its actions, worries about being used by others, and seems very concerned with how others view it.

THE THEORY IS THIS:

The Golden Goddesses once included four members: Din, Nayru, Farore, and Majora. Each played a valuable role in its creation and complemented another member of the four. Din and Nayru balanced one another, with Fire meeting Water, Power meeting Wisdom, and Creation meeting Order. Likewise, Farore and Majora balanced each other out. Farore would bring Wind, Life, and Courage while Majora would offer Earth, Death, and Peace (themes seen in Ikana Canyon).

The four of them created the world of Hyrule and its many peoples. Perhaps Majora’s favorite people were the predecessors of HYLIANS. Though a variety of humans exist in the Zelda universe, it should be noted that the ones with pointed ears (Hylians, Sheikah, and Gerudo) are most closely associated with many of Majora’s favorite points, as seen in OoT’s Spirit and Shadow Temples.

It is also likely that the four goddesses spent a while living in the world they made, much like the Giants of Termina. This would be a bit of a weird dynamic for common people, especially concerning Majora. Gods associated with accepting one’s fate and returning to the Earth are not always going to be popular.

The thing is, if there’s one thing the Zelda series is consistent about, it’s powerful beings able to be defeated by much weaker ones. Link defeating Ganon a bunch is the most obvious example, but even benevolent deities like the WIND FISH and Four Giants are shown to be vulnerable to something they should be able to take on. So it’s possible that the peoples of early Hyrule could defeat Majora with a well thought out plan and the element of surprise. This plan: trapping her in a mask, which would only be used for exploiting her power.

The remaining trio could react in a number of ways. they would almost certainly be upset, both because of personal safety concerns and the outrage at Majora being imprisoned by the world she helped create. Rescuing Majora would be a high priority, but being very powerful doesn’t necessarily grant omniscience. A mask is very easy to hide, and they wouldn’t even necessarily know to look for a mask in the first place. That said, it would be an utter waste to destroy the peoples they created. Not all of them were necessarily guilty. Nevertheless, Hyrule was no longer safe for its creators.

So the Golden Trio departed from the world, leaving only a portion of their powers behind to create the Triforce.

Thing is, without the Golden Goddesses, the world would soon be attacked by outside threats like Demise. This was bad enough, but worse was the fact that Majora could not contribute her efforts into maintaining the world’s balance. Thus, the nature of Hyrule changed forever. Without an entity that could manage death and ultimate peace, undead creatures would begin to plague the world. Worse, monsters like Ganon were literally unstoppable, since they were powerful enough to overcome any force that would make them face a proper death or ending.

And so, by trapping the Goddess associated with Death, the people of Hyrule allowed the greatest killer in their history to go largely unopposed. After all, even when a hero rises, he can not always stop Ganon immediately. The Downfall timeline is based on the good guys simply failing.

Majora didn’t see most of this. She was in a mask most of the time, wondering why her three sisters had not saved her. Did they know about this? Had they taken part? Why would they betray her?

So ages later, when little Skull Kid allowed Majora to see her surroundings for the first time in at least a few centuries, likely much longer, she was neither entirely rational or calm. When she saw Termina, she saw something resembling what the world she made might look like after X many years. So bringing the moon down? That was revenge.

Theory by u/salnax

[umbracado-blog]

Wisdom's Last: clean up | META

Wisdom's Last: Zelda dies in the Sacred Temple. She’s reverted history to this, it’s first known ‘fixed point’ and has opened the timeline up to influence and attention outside of the perceived focus of ‘Threes’ offered by divinity. 

Demise’s wrath has been torn from it’s physical home and sealed in The Master Sword. Evil’s Bane is powerful enough to not only contain the darkness, but do away with it. Fi bites that bullet ad nausem, doing as her goddess wants of her. Good on you, Fi!

The Hero’s soul is torn from it’s physical home, finely diced and then distributed infinitely among the inhabitants of the earth. Every living being on the planet, be it flora, fauna or something in between, gets a portion of the Hero’s spirit. Everyone everywhere gets a mite of that courage to carry on, to do more than was expected of them before. To forge their own legends!

Lastly, the Goddess’ soul is released from this mortal bind, and returned to the golden goddesses (ALL FOUR OF THEM) above. They are asked- BEGGED by the lone spirit, to interfere no further with the continued lifespan of the planet and it’s inhabitants. Offer no blessing, grant no retribution nor smite no unworthy. Let them BE, because to do otherwise would be to place them in never-ending peril. They honor their daughter’s wish and abscond from the planet once again.

The world is safe and quiet. Time passes without divine intervention or demonic incident. The Sacred Temple is buried beneath the waves of existence and entropy, left undisturbed for millennia to come.

Peace is finally won. The legend ends. Thank you for playing.

[umbracado-blog]

Pausing verse writing to say that Prince Link almost beheaded Zelda with the Master Sword when she rocked up on the castle to beat Ganon’s ass. He pulled up with that thing on him, the Blade of Evil’s Bane, and literally- LITERALLY fought Zelda to a fucking stand-still in front of the fountain connected to the BIG DESERT (r.i.p. zora domain) and almost killed her.

He  tanked a swing from her claws, getting as close to her as possible (forcing her claws to get lodged in his armor so she couldn’t use her dexterity to escape) before he sent them both, screaming about togetherness and destiny, to the ground with his blade pressing into the soft matter of her throat.

He bled her evils away that day... Almost bled her life away. Had Link not relented, for the sake of preserving his soul (and maybe even Zeldas) that day. Good on him. The Legend might have ended there...

[umbracado-blog]

Just like Link, Zelda’s design has also changed. She’s been re-imagined from the ground up, for a new legend.

Her physical capabilities are not that good, but her magic augments her dexterity. There’s a reason why her hands and feet glow, after all.

SKINS

[ DEFAULT ] Princess Zelda’s design in The Legend of Zelda: Clockwork Empire

[ RED ] Based on Zelda’s Royal Uniform in Clockwork Empire.

[ BLUE ] Based on Zelda’s Sheikah Robe in Clockwork Empire.

[ PINK ] Designed around Princess Zelda’s adult attire from Ocarina of Time.

[ GREEN ] A Legend Misplaced, this outfit is based around Link’s attire from Skyward Sword.

[ BLACK ] This dark kit re-skins the sage into a design for a ‘Demise-Possessed Zelda’ in SS.

[ FATED ] Zelda’s ‘Fated’ Costume ties into the super awesome amiibo system. By storing your Clockwork Empire save data on your Zelda Amiibo, and attaching said Amiibo to your system while playing Smash you’ll ‘transfer your progress to Zelda’ and unlock this new costume marking progress. MY Zelda’s ‘fated’ costume is a pull of Midna’s Twilight Shawl from her adult form.

ZELDA’S MOVES

Zelda’s special moves don’t have the power to send the opponent flying, or heap large mounds of damage on the enemy at once. This is, of course, in line with her character.

Her style, a ‘modern’ recreation of ancient sheikah martial arts, instead relies on her great speed and incredibly low recovery frames, both of which help her control the flow of battle. She sacrifices durability for speed and pressure, and as such is a very tech-focused character. 

[ STANDARD S. ] - Sheikah Storm

She begins readying needles, capable of holding a total of ten in her hand if allowed to charge fully, when she releases the needles the effect of their impact is determined by how many needles hit the target. 1-6 needles do 18% damage. 7-9 needles do 20% damage and allow Zelda to ‘teleport’ to the target’s ‘back’ with another press of the button. All 10 needles do 20% damage and then ‘drag’ the target into a shadow dimension where they receive 5% damage for each 10% of damage they had on them when dragged under.

[ SIDE S. ] - Flash Lantern

A charge of fire-based energy borne in Zelda’s palms. She can ‘detonate’ the energy charge whenever she’d like, though charging it to full blast will create quite the concussive force. While the damage varies, due to drop off, resistance, charge, etc. etc. the FORCE of the blast is corruptive. At full charge, if it detonates while attached to, or within melee-range of, an enemy the enemies will be ‘scorched’. ‘Scorched’ enemies will take fire damage for a few moments after detonation, and if the detonation eliminated the enemy, the ‘scorch’ will attempt to jump onto the nearest burnable being and continue the curse.

[ UP S. ] - Hurricane Claw

A ‘Legend of Zelda’ classic, it’s the whirlwind blade maneuver, re-fitted to coincide with Zelda’s particular play style. When used on the ground, the move is a ‘charge up’ attack. No charge sends Zelda forward in a dash, culminating in the whirlwind blade at the end of a short run. Light charge will send Zelda spinning into the whirlwind blade immediately, and send her spiraling down the map. She can then achieve some light lift-off by jumping. Full charge will create a ‘gale boomerang’ effect around the rotating Zelda, drawing enemies in and dealing additional ‘trapped’ damage to them for the duration of the attack. Jumping in full charge will launch Zelda skyward, as if double jumping. Using any level of Hurricane Claw in the air will send Zelda skyward, though more charge will allow her more control over the ‘X’ axis, while her ‘Y’ axis is determined by how much ‘jump’ she has left within her. Hurricane Claw can propel her to triple jump levels if used with no vertical take off.

[ DOWN S. ] - Nayru’s Rejection

Another ‘Legend of Zelda’ Classic. By drawing on Nayru’s Wisdom residing within her very being, Zelda can summon the goddess’ love for her creations and harden it into a reflective shield. Revolving on the spot, Zelda summons reflective panels of diamond-shaped (and diamond-tiered) magics that reflect all projectiles fired toward Zelda back at their owners. The reflective diamonds, once charged with the energies of a reflected attack, will shatter around Zelda and do damage to any objects, or people near her capable of receiving damage.

ZELDA’S SPECIAL MOVES

[ PASSIVE ] - Shadow Dexterity

Zelda, like most humanoid fighters in her weight class, has a lot of dexterity and maneuverability. One of her more impressive, and immediately noticeable differences from her peers is that Zelda is capable of triple jumping. She has a standard double jump, but her third jump has a heightened sense of ‘control’ over her movements. It’s very easy for her to throw herself too high / too far with her third jump and put herself in a horrible position, or even worse, in the grave. She’s also capable of- Oh? No... Mistake, Zelda can not glide in this iteration. It seems as if the ability was taken away from her.

[ FINAL SMASH ] - Dusk Fall

Unlocking the latent Twilight Energy coursing within her shadow, Zelda ties the energy into her very soul and looses all of herself into the attack. The attack begins with Zelda covering the entire stage with her soul-sewn shadow. The darkness is absolute and those trapped within it’s range are robbed of finer functions of sight. This ability has a second function as it marks all the enemies within the shroud to Zelda. This 'tactical marking’ of enemies ties into her channeling truest wisdom of the ages through her shadow-sewn soul and thus, she deals incredible amounts of damage to those within her shadow, all seemingly in the blink of an eye. The shadows last as long as her magic does, and when they rescind to beneath her feet, few are usually left standing.

[umbracado-blog]

servicing calm wind | META

This post is here to describe how the VIDEO GAMES end. These focus more on how the player witnesses the end and beginning of the two games than Zelda does.

Clockwork Empire’s Ending

After the last boss battle of CE with Shadow Zelda, Zelda is left limping out of Kokiri forest with a large, violent wound in her stomach. This all happens from a top-down perspective as the credits begin to roll. Zelda’s traveling through the forest is represented by ‘screens’, reminiscent of the VERY first game. Once Zelda reaches the right side of the screen, the screen rushes around her and deposits her on the left side of the next screen.

On the top right corner of the screen is her row of hearts! All the heart containers she’d collected over the game are there, however, with each passing moment she’s losing hearts.

After four screens of her limping and seeking an exit, she collapses. Crumbling to the ground, the leaves of the forest begin falling over her, as if to bury her.  This serves as a partial misdirect to the player, as a fairy will surround Zelda’s hand as she falls. Usually (in game) if the player presses A they’d activate the fairy’s magic and it would revive Zelda. Here, pressing A would skip the credits and prevent the viewer from discovering Zelda’s fate.

 After ten seconds with no interaction, the fairy will revive Zelda and flit off toward the edge of the forest. A speech bubble will sprout as the fairy leaves.

 FAIRY: I’ll get help!

Zelda rises to her feet after the fairy leaves, her row of hearts refilled. From there she’ll begin marching on again, her heart meter slowly beginning to decline. Once she reaches the fifth screen, she’ll fall to one knee and the edge of the screen will begin caving in on her. A darkness, representative of the end.

 HOWEVER! Before being consumed entirely by the darkness, her left hand (her triforce’d hand) erupts in a bright white light and attacks her stomach. The white light flickers for a moment before spreading to consume the WHOLE screen, leaving the credits to roll unimpeded for a bit.

The next three minutes of credits move on without any mention of the ‘game’ that had been transpiring prior. Once the credits reach the Special Thanks section, however, the white on screen will begin to fade. From the center of the ‘fade’, the camera will find Zeldalimping through the forest still. She’s only half a heart left in her flashing heart container, but it’s not declining. The forest around her has started to lighten up, as if she’s reaching the end of the foliage.

She travels for two further screens before… unfortunately, collapsing on the edge of the forest.

The screen will fade to black there, the flashing half-a-heart still in the corner.

                       NINTENDO! A Shigeru Miyamoto & Takashi Tezuka Game.                         1986-2016

Another speech bubble will appear following this.

 IMPA: Zelda!

The shot holds on that as the half-heart grows to a full one. Fade to FULL black before, of course…

 Would you like to save the game?              [YES!]          NO!

Majora’s Revenge Opening

Turn the console on. Pop the disc in. Load it up. Pubilsher Screen. Developer Screen… Cutscene?

Two months after Zelda’s decade-long excursion. There’s a STORM creeping in on the edge of the country. There was to be a festival in Castle Town’s square today, but all the decorations and accouterments are being taken down and preserved so as to defend against the oncoming nature onslaught.

 The camera moves through the town on the wings of a bird. Dipping between buildings and conversations, over puddles and cries of disappointment. As it flies, the rain begins coming down HARD on the edge of the storm. The wind is picking up, as if it’s angry and the bird has a hard time maneuvering in the onslaught. It struggles to gain altitude, but it does, and it begins to move with focus toward a perch above the town.

Somewhere it can nest and wait out this storm. It chooses, after a very lucky thermal sends it skyward, the balcony overlooking the town… jutting out from the Royal Castle.

 Atop this balcony, sat on a railing overlooking her disheartened constituents, is Queen Zelda. She looks, as a decade would do to one, different than her last moments on screen. Her skin is darker, she’s a bit taller and she certainly appears to have a physical wisdom about her. On top of all this, she seems… happier. How odd, no? She’s not bleeding to death either, which is a marked improvement over her last adventure.

She glances toward the crow-like creature, somewhat confused by it’s presence. Why, in thissquall, would a Messenger come looking for her? She adjusts her position atop the railing, lighting a dried sage leaf aflame for the sake of masking some unpleasant scent. The queen is humming a soft melody, content to herself, before the ‘camera-bird’ hops a bit closer to her.

 She hums an inquisitive note at the bird before a voice calls out to Zelda, taking her focusand the perspective.

The camera moves to over Zelda’s shoulder as she looks toward the source of the voice. She hums loudly, an inquisitive response, leading the voice to reply with “We’re ready for the story.” Zelda hums in acknowledgement before turning back toward the bird-

 Or, more accurately, toward where the bird once was. All that remains of the bird is a lone, crystalline feather. Looking down to the sage in her hands, she’ll carry on with her humming before throwing the embers into the wind.

It’s at THIS POINT that the player will have control over Zelda’s actions, though only along the game’s X-Axis. The game wants you to go inside, but there’s a little easter egg / 100% completion item here.

If you, as the player, make Zelda walk to the balcony and press A, she’ll pick up the feather. She’ll study the feather for a few moments before humming the Key Item Get jingle from the LoZ Games.

Twirling the feather about her fingers, the game will then rest control from the player and walk Zelda into the building. This will lead into a cutscene where she exclaims, “Which story would you like to hear?”

The camera will pain upward from where last Zelda stood on the balcony, upward toward the moon rising above Hyrule Castle. With the moon as a backdrop, these words written in black with GOLDEN trimmings will appear. “LEGEND OF ZELDA!”. Behind these words will be a golden triforce with a black triangle in the center of the golden pieces.

 The screen fades to white, leaving only the Zelda title and the triforce behind.  Hold on this for a few seconds  before Zelda’s voice chimes in, laughing a bit with, “How about ascary one?”

The title now has a subtitle spread beneath it. “MAJORA’S REVENGE.” The golden portions of the triforce will crumble and fade to dust, leaving only the center black triangle behind it.

 PRESS START TO PROCEED.