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.