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Demo #8 - Majora's Aria This footage was taken in July 2012. Took us long enough.

Big big thanks to Allegra Durante and Inês Quaresma.

Also, special thanks to Sofia Galvão, Billy, Mom0ki, Natasha Silvestre, Princess Rizu, Rachel Hillman, Siomara Zendejas, and Verónica Fragoso.



Full Throttle: TV Tropes, Spinning Stream, and New Hardware

Ladies and gentlemen!

Firstly, Majora's demo and instrumental reel has been uploaded to the Spinning Stream. Not much else to say, except that if you don't know about them, go give them a listen. They have a great selection of Nintendo originals and remixes.

Secondly, it has been brought to my attention by a Youtube user named Rethkir that a TV Tropes page has been made for Majora. I was understandably surprised, as this isn't even a finished draft yet, let alone a finished work! A Radio Hyrule user named Nayru was kind enough to correct a glaring mistake in the "Voiceless" trope, which stated that Majora is a disembodied voice. Majora is, in fact, an actual singer on stage, separate from the dancer, Skull Kid. It is just considered invisible to other characters, but plainly visible on stage as the "voice inside Skull Kid's head."

Last, but definitely not least, the new hardware is ready. I have acquired a new machine, and official digital writing will finally resume at full throttle! All the information and ideas I have been discussing here with polls and such will finally be put into practice to carry on with the completion of the entire first draft of the opera.

I would like to thank all the supporters, who supplied a total of 25% of the required funds for the new hardware:


Thank you! :)

Now if you'll excuse me, I have a truckload of papers to convert to digital notes.

Cheers from the Majora team!

Majora Team_smallest


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New Team Member, and Odolwa Gets a Makeover

Life is a bitch, but if you give it lemons, it will eventually get better.

Wait, that doesn't sound right.

I came here to announce that Majora has a new member: Liam Greenough; former head of FFREO.

He will resample the entire work done so far, dramatically increasing the quality of the samples and freeing me from needing to sample my work on the opera myself.

What does this mean? It means that not only will the next demos have better instrumentals, but I will finally resume the official digital writing of the opera, now faster than before.

Why? Because now that I have a colleague with capable hardware, I can compose in MIDI, which, despite the horrid quality, can be done on any piece of crap machine, including a netbook. The pro is speed, the con is probably more revising once sampled properly later.

Part of the help received will go towards a USB MIDI keyboard, to make for speedy and portable note entry (also, the current one is cumbersome and half broken).

A big thank you to everyone who contributed so far!

An equally powerful thank you to those who keep supporting the opera in any other way!

Also, a public thank you to Liam Greenough, for joining the project.

I leave you with this eargasmic resampling of Odolwa and the Deku as proof of his skills:


P.S: OMGZORZ the progress bar has MOVED!

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Signs of Life and Q&A #24

Hello, internet.

No, we're not dead. We and other people needed for the project get caught up in other stuff and things sometimes keep being out of sync. I thought I'd pop by to tell you something.

I came across a lovely cover of Pamela's Arietta by Elizabeth DeLoria who, despite the low quality of the hardware, delivered quite a character! You can hear it here. She, and I quote, "REGRET(s) VERY LITTLE." Well, I regret nothing! :)

Remember that we are searching for both singing and monetary support! If you don't know about it yet just visit to the two previous posts.

Also, thank you to all of you who have supported us, your help is invaluable. We urge you to spread the word further so we can reach the adequate number of resources to keep working on this.

Speaking of which, a very pertinent question seems to have been left behind, and I apologize to f(x)=12/x for that.

f(x)=12/xSo many inconveniences, and still active, if not going strong. Sadly it’s not the norm (in so many artistic fields). Imo the delaying of the demos is not a problem as long as the writing goes on. Which leads to the following question(s): considering you’re “quite past” the 67% claimed by the bars on the right, is act 2 completed (on paper)? Has 3rd act/ouverture/prologue been started (on paper)? And is it right to assume that more paperwork means faster digital transcription? I hope the questions (not to mention their quantity) don’t seem too…intrusive.

Due to terrible issues of focus and of other kinds, I tend to have a hard time with just paper, and the best ideas for timbral composition come along when I have a more solid feedback, such as from digital samples, to give a clearer idea of what an orchestral blend can provide. They do not replace or evoke in the slightest the real depth of an orchestra, mind you, but it became my best way to develop things musically.

Because of this, I have been writing on paper all the ideas and sequences that I think must not be forgotten. It's been a work in bits, spread all over and not joined yet. Some ideas are even conflicting, as they are options to be tested later on.

Therefore, I cannot say that any act is complete (save for the first one, if you don't count the large amount of corrections and additions that need to be made), as the paper needs the (pre-)final judgement of orchestration to be considered definitive.

There are parts of the third act on paper, indeed. Such as the tribute to renaissance music with Igos du Ikana's aria, and the arrival of Kafei at Clock Town as the moon draws close.

More paperwork just means less pain for the wall, as my head will hit it less trying to come up with ideas.Whenever the resources are enough, the writing will enter turbo mode, so...



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PUSHSTART Magazine and Q&A #20

Although this will only interest the Portuguese speakers, due to the obvious language barrier, it is nevertheless important to mention another interview by Portuguese online video game magazine PUSHSTART.

Thank you very much, Luís!


We're slowly emerging from the wasteland of activity that August was. The animation for the Giant's Aria is proceeding slowly but steadily, much like a Giant, really.

Personal stuff stood in the way of my intended development, so I wasn't able to advance as much as I expected. As if that's new.

If I'm correct, the next days will vary between scarce updates and the eventual release of the Giant's Aria as demo #6.


Now it's time for a Q&A:

Technotheif: A question for your Q&A: Will we see the Postman write the letter to himself? I feel that is a powerful and valuable scene that can stand alone, and the postman is already introduced.

Most definitely! I love that scene. It crept me out so much when I was little, yet I only understood the underlying neurosis years later. OCD at its darkest. The last day will have some snippets of the insanity that sweeps through the few that remain in Clock Town.


Commander Majora: Will there be some way to incorporate time into the final stage product? When i imagine the on stage product, i think that above the stage there would be a clock. I’m just wondering if that will be important?

Time is definitely important, but it moves rather irregularly in the narrative. Sometimes faster, sometimes slower. My approach to time is that, besides each act being a day, you can hear the Clock Tower's bell announcing nightfall and sunrise. So each act is divided into day and night as well, but unlike the division into acts, this day/night division isn't proportional. It instead depends on the flow of the narrative.


kram1032: Heh, I figured almost every stage work has optional stuff but the way you wrote about difficult staging and stuff felt like you’re concerned to make it work on pretty much any stage. – The whole thing. “Director’s Cut”, so to speak. Most likely, after a while it will be reinterpreted anyway, right? At least that’s what seems to be the fate of most staging works out there (Though what do I really know. I’m not exactly an expert on operas).

Everything gets reinterpreted. As long as I get a last say in terms of control, I'm fine with that. Improvements are infinite.


Conman21100: I assume you will be using the Clocktown theme for the “Clocktown choir” in Act I (I believe you had mentioned that at one point), but I’m curious if you will be using all three variants of the Clocktown theme (a.k.a.-the Day 1 theme, the Day 2 theme, and the Day 3 theme) throughout the opera. Will each act have a scene in which the people of Clocktown are shown singing (using that day’s Clocktown theme) to express how they are changing in terms of their fears about the moon falling?

In a nutshell, without much detail, yes, that's the general idea. All three variants will be used, albeit not necessarily on the same people all the time. They will portray the emotions of the town as the moon nears, just like the original. Personally, I think it's a brilliantly simple move by Kondo that shouldn't go unused.


PurplePeachXD: I was wondering, will Tingle be in this opera? Because unlike most people, I actually really like this character and I would find it so awesome if he would make an appearance! =D

I can't remember if I said this already, but since the Clock Town choir is its inhabitants, he will appear as part of it. He has no purpose in the story as a standalone character. Also, I exceptionally chose to use Purlo's clothes for Tingle, because DAMN.


EponaHat: I realise you’ve answered many, many questions about Romani and Cremia, but I’m curious: have you considered including them in the ending where everyone takes shelter in the ranch (although I guess you may not be able to considering Anju stays in Clocktown)?

I love questions that answer themselves.

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A week of rest, Link's Hideaway podcast and Q&A #19

The people over at Link's Hideaway were kind to invite me to a podcast to answer some more questions. Some are probably repeated from previous interviews, but I still managed to go on for an hour... So, for anyone interested, here it is, available for download.

Thanks to Ryan and Austin for the opportunity!


The audio for the Giant's Aria has been recorded, and now all that is left to do is finish the video.

I am taking a week off to rest my mind, as my writing speed has been decreasing dramatically. I am in need of some time to rest.

Here is a long Q&A for your enjoyment, and I'll see you all in about a week!


kram1032: Will you have “optional” parts in the opera aswell? Stuff that won’t work on every stage or with every cast but given certain opportunities, it could be added?

I'll let you in on a secret: Almost every stage production in the world has those.


Joseph Murse: Oh yes a quick question for the Q&A, will Kaepora Gaebora be showing up at all? He’s the only character in the game to say that the fate of Termina is to fade and he may work as a great foreshadowing device. Of course, the problem is that he is… well an Owl. Kind of difficult to show that on stage.

He does work great as a foreshadowing device, but as he appears mostly to Link and has no relation to the rest of Termina I chose to leave him out. The fact that he is an owl doesn't help, obviously. Instead, the Happy Mask Salesman kinda takes his role as a narrator, albeit a bit mad. That helps to bring about a sense of instability.


YourFriendlyNeigbourhoodGerudo: I know someone has asked about child singers, but what about child dancers? Is your answer the same?

A child dancer is way easier to include, in my opinion. Although I don't really see where that could apply. It would look strange for the Deku soldiers that battle Odolwa to be smaller than the "civilian" Deku from the choir, for example.


Zul: Are you planning on releasing MP3s of the demos at some point (free or otherwise)?

That has been thought of, and it's very likely. If they do, the way they will be released depends on the definitive road this project takes.


BlackBelt002Will this opera be available on Youtube? Or will it be in a particular state?

If you hadn't asked about the location, this would have been identical to a previous question and subsequently ignored, as I have said before. Location-wise, I am from Portugal, and this is still too early a stage to know when, how or where anything might happen.


PieStealer: Silly question of the day: What are some of the craziest things your actors have used for their 'costumes'? Since I'm sure there are liberties, considering everything is behind a curtain for the time being.

Liberties aplenty: Pillows to enhance body size, paper for hats and even duct-taped wrapping paper and cardboard hair!


TOMBRAIDERLARA36: Hello I love what you've done but saying this wouldn't talking about Pamela and her father also be considered a tangent? I have a feeling I've missed something and I also feel that not including Romani and Cremia would be a shame.

I would have liked to include the ranch as well, but it is a location that does not make sense in the story's progression, nor does it fit well in the way the sets are programmed to flow.

Pamela and her father are definitely not a tangent, since Ikana Valley is a climactic location for the opera's plot. After all, Sakon's hideout is in the valley, and that is just part of the events that will unfold in that part of Termina.


f(x)=12/x: While revising the opera, do you plan to add “translation tips”, or even a Portuguese version to start from? I mean, I’m sure you know Romance languages have longer words (among the rest) and sometimes don’t allow a  faithful translation.

I am horribly picky with translations and dislike most. I think that when something is designed to fit a certain language it never sounds or reads 100% well in any other.

I am, however, very inclined towards the subtitle solution. It's not invasive, it doesn't replace content and it serves as a support, even for English speakers themselves, since operatic singing rarely comes with perfect pronunciation.


BowserTheSecond: Just a quick question, will the seahorses be in the play at all?

Seeing as I want to keep this as humanoid as possible to avoid puppetry and to enhance immersion, they do not. Also, they would probably have no purpose in the story.


Mischifer6: Also, will other characters in Ikana be in this opera? (Garo, Stalchildren, Keeta, etc.?)

I have said before that King Igos du Ikana is an important character, and I can tell you that the Garo Master does appear as well, as he plays a vital role.


thedivinity24136: Do you plan on actually making this an opera?

No, this is clearly a bowl of soup.