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.




12 Responses to “A week of rest, Link’s Hideaway podcast and Q&A #19”

  1. Commander Majora Says:

    i know you just answered a ton of questions, but:
    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?

  2. I would see this even if it were a bowl of soup ;)

  3. 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)

    Also I like your last answer there. So nicely surreally sarcastic. I thought this is ice-cream though. Strawberry-flavoured.

  4. I think that If this ever comes to reality, the make-up and costumes would have to be amazing. Think about how to make Deku faces on people, or Odolwa. There are just so many different parts that would make this a fantastic opera.

  5. Conman21100 Says:

    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? I can imagine the first day being one where everyone is generally upbeat and cheerful, with only a few doubts about the moon here and there, and then the second day would have everyone still going about their daily lives, but speaking more openly about their fears of their impending doom, and then, finally, the last day would have everyone running around in a state of chaos as they try to flee town. I ask this because the way that the Clocktown theme changed from day to day was always one of the most effective elements in the game, to me, in terms of creating the mood—the music reflected the townspeople’s sink into fear and depression.

  6. f(x)=12/x Says:

    About the subtitle solution: I may have misunderstood, but do you mean on-stage subtitles? And how would they work?
    (Well, I know the staging phase is not the main problem now, but the thing sounded strange to me).

    About the podcast, you lifted me a weigh: I’m glad you prefer an unsettling atmosphere over harmony harshness too. The latter could even be one of the “something missing” things about the Twilight Princess soundtrack, IMO (especially the battle theme and the water temple boss, and the Twilight theme, with its off-pitch strings).
    But I think you’re being a little too harsh on medleys: the best ones DO develop somehow, they don’t really stick to the original that much.

    • I’ve been the the opera several times here in my hometown, and they have a screen above the stage with English subtitles. So when Madama Butterfly is singing in Italian, the English translation appears above the stage for everyone to see. I haven’t seen an English-language opera, but my understanding is that they subtitle those too–even if you know the language, it’s not always easy to understand the singers!

      I’ve only ever been to the one opera house, but I believe that it’s pretty standard for them to have subtitles. I’ve heard that the Met in New York actually has individualized subtitles on the back of the chairs–kind of like how bigger airplanes have TV screens on the back of each chair so you can pick what you watch. Apparently, you can choose between several languages for your subtitles there.

      • Thanks. It’s just that I never saw a stage suited to a subtitled opera, so I was kind of puzzled. Thanks again.

    • yenny replied to you pretty much like I would. His first description is exactly how the subtitles appear at the São Carlos opera in Lisbon, for example.

  7. 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 yiu may not be able to considering Anju stays in Clocktown)

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