Posted 27 November 2011 - 11:29 PM
Far from being here to spam you, take that as a portfolio for your reference towards what I would like an opinion on from the community.
I have long delved into the depths of Majora's Mask dramatic possibilities, and being a composer/writer I am currently considering (after having enough material to start) creating a stage work of Majora's Mask, something big, serious (as in, professional), powerful and with one or two modifications that I assure change nothing of the story's core concepts at all. In fact they bring out the drama in full and allow for a stable adaptation to stage, instead of the many flaws that arise from taking a game structure into a dramatic set without the necessary reconstruction.
Musically speaking it would also avoid reducing itself to medley form. I would try my best to develop on every theme, taking them as bases to be grown on and to make a complete and organic work, instead of a patched-up musical track.
I would need to gather up all the available resources to write a score that would please me and all the other Zelda fans.
The hardest part would obviously be, afterwards, attempting to contact the actual composer, showing the product, and asking for his approval, perhaps his support, in having the work built and brought to life, for we all know an artist trying to climb always needs help from above, especially if they are using the work of those above as a vital basis. It is always a win-win situation, since artistic reinterpretations of any established medium always validate its existence further (a.k.a. mutual advertisement et al.).
I have my original work, both writings and compositions, as evidence of what I can do, and I am usually not one to make these kinds of adapted projects, but Zelda is something that has always fascinated me, and Majora's Mask is the one that always dug deepest.
I would like to know if the community would be interested in seeing such a project built.
Posted 28 November 2011 - 06:41 AM
Posted 28 November 2011 - 09:21 AM
i wonder if you also pitched to operation:moonfall when you finished, if that would help. i mean, theyre already trying to get nintendo to make a MM:3DS, and a finished, accurate play would make a nice "see how we love this series? see how much work went into this play?!" statement. (just a little shameless promoting there, since MM is the zelda game i wanna play most)
Posted 28 November 2011 - 10:12 AM
Though, you would also want to be very careful with how you approach the story. You've got maybe two hours to get a full game campaign in. This website's community is very familiar with fans of the series attempting to recreate works from the games, and this is a problem they frequently run into. If you don't stay true to the story to a t, you're going to get bombarded with hate.
Posted 28 November 2011 - 10:54 AM
Otherwise, I'd be intrigued by a Majora's Mask opera. I'd definitely come see it if it came around here, which would probably not happen. I'd buy the soundtrack? Good luck to you, and I hope you keep us posted :>
Posted 28 November 2011 - 07:50 PM
pheonix, I am fully aware of the hate bombardment possibility, and I am expecting it because although the modifications involved in the setting of the work to stage do not change the story's core concepts at all, as I said, they do alter something quite important for those who take refuge on the heroic deed of a single individual (Link).
*prepares for the flame*
I have put enough thought on this (took me a while), and there is a difference people have to understand exists between media.
A book is a book. A movie is a movie. A game is a game. A stage drama/opera is a stage drama/opera.
The intensity of a stage drama comes from the concentration of the attention in a specific character or group of characters and the things that affect them. They can be related to something bigger, obviously, but it still has to restrict itself to a group that is small enough to build up the amount of weight it needs.
The reason a game like Zelda can't be adapted to stage at 100% in every single aspect is because a game is built as an interactive medium. A game like Zelda lives on diversity and exploration.
I chose Majora's Mask for a reason: In all of its diversity, Majora's Mask has the ability to captivate through the personal anguishes of the inhabitants of a dying world. Now, turning it into a never-ending list of equally important woes would be static and unimportant, and here is the key issue: So would turning a mute heroic character into a chore-handler for a world with living, thinking and feeling individuals.
For what I suggest, I ask for understanding from the part of the community in that I am convinced that I can heighten the theatrical power of such a world and what it is experiencing through this simple yet key modification:
Link is absent.
It is a what-if cautionary tale to the world of the audience (like Ikana was to the rest of Termina) telling of Termina's fate without the intervention of a savior, a Deux Ex Machina in Hylian form.
The core concepts remain the same, as I've said. The story revolves around promises, the whole world's mechanic and sense is exactly the same.
But this little big change allows me to make a humanistic injection of character build-up in the largest and best known side-quest of all Zelda games: Kafei and Anju.
By centering the story on Kafei and Anju, I can make it that Kafei's quest for the retrieval of the Sun Mask and the fulfillment of his promise comes out of his own accord, his own effort, and provide a fluid narrative of his tracking of Sakon and his treasure. The struggle of a last promise in a world fated to be destroyed.
Don't think Skull Kid and the mask Salesman will be undermined, on the contrary, I expect the Salesman to be a very important guide to the events in Termina and cross paths with Kafei later on, as he is the responsible for taking the mask to avoid disaster and then having Skull Kid steal it from him.
As I said above, a game is a game, and a game's diversity is made for interaction. In an opera, that diversity becomes harmful. It becomes dispersion. My aim is to make a big, serious and most of all effective work out of Majora's Mask, and you can take my word on the respect I have for canon. So much that instead of modifying or harmfully cutting Link's diverse actions to adapt the work, I would rather make it keep its sense simply by letting Termina exist nearly unchanged.
I understand and humbly accept all the flaming that might erupt from the canon-centered community, but I am sure of my abilities to make a bittersweet cautionary tale out of Majora's Mask for our own world to see. Zelda fans or not. And if it wishes, to compare to our own dangerously decreasing sense of trust and faith in people.
I ask of you the same sort of trust: What concerns me in this project will not disappoint.
Posted 28 November 2011 - 08:32 PM
Link is absent.
up until this point, i was thinking "i swear if he makes link talk..." and then you went and got my attention. im actually interested. like, sat up straighter on my seat and went "where did he get that ide--this could totally work." also, this was the point where i put away all my "excuuuuuuuse me, princess" jokes.
i feel like theres some way i could argue cannon timeline crap, particularly with the adult timeline, in which termina is just one big fuzzy area between wind waker and OoTs adult timeline. basically, the timeline where link is absent. though, i should probably play MM before attempting to talk plot on this :< but given that its a different region and blah blah blah, the influences from a changed hyrule might/probably(?) would be pretty small.
also, ive been wondering about that salesman....i noticed he up and vanished over the seven year jump--did he go to termina at that point?
Also tagged with one or more of these keywords: majora, mask, opera, bulteau, berlioz, composer
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