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Theatre: Majora

"Someone actually opened a page for Majora on TV Tropes!"
"I was like "WHY?? It doesn't even exist as a concrete product yet!"
— Miguel Bulteau on finding out his works has a TV Tropes page.

Majora is a fan-made operatic adaptation of The Legend of Zelda: Majora's Mask written and composed by Miguel Bulteau. Although currently in the early stages of development, the project has gained a large following since it surfaced on the internet in early 2012. The opera follows a Three Act Structure, where each act corresponds to one of the three days in the original game.

The story of the opera is different from Majora's Mask, as Link is not present. Instead, the story centers on Kafei and Anju as Kafei searches for his missing Sun Mask before their wedding in three days, even as everything in the world is working against him. As this happens, the Happy Mask Salesman is also searching for another mask, one that must also be found within three days, but for an entirely different reason.

As the moon gets closer and without a hero to save the day, it becomes increasingly apparent that the world may not exist after three days. But this does not stop Kafei from his quest to fulfill the promise he made to Anju.

More information on the project can be found by going to http://www.mbulteau.com and clicking the mask.

There are currently several demos and instrumental samples, which can be seen on the creator's YouTube page.

The project's blog can be found at http://majoraopera.wordpress.com/

Majora provides examples of the following tropes:


  • Adaptation Expansion: The opera is essentially a three-hour long adaptation of the Sidequest Sidestory in Majora's mask.
  • Adaptational Angst Upgrade: Since the story focuses of Kafei, there is much more time to focus on his pain and suffering throughout his quest.
  • Age Lift: Pamela is a little girl in the game. In the demo, she is much older. She will likely be older in the actual opera unless they can find a very good child singer.
  • All Musicals Are Adaptations: Up to Eleven. It's an opera... based on a video game!
  • Alternate Timeline: The opera takes place in a reality where Link does not visit Termina, possibly the Adult Timeline.
  • Basso Profundo: The Giants sing the "Giant's Aria" in bass.
  • invokedBig Lipped Alligator Moment: In-Universe, the Giant's Aria is seen as this. Neither Kafei, the Deku, nor the monkey understand the significance of the Giant.
  • Bootstrapped Leitmotif: In the play, the Song of Storms is associated with Anju, even though there was no connection between them in the game. Miguel was inspired by a scene in the game where Anju is alone at the Laundry Pool during a rainstorm, sad that she misses Kafei.
  • Cipher Scything: Besides the inability to have Link sing, yet alone talk, the primary reason that he is absent is because he would act as a Deus ex Machina, removing all tension from the plot. Not having him present allows for more drama, creating more uncertainty and doubt over the fate of Termina.
  • Counter Point Duet: Demos #1 and #5 are both examples, despite being trios.
  • Creator Cameo: Miguel Bulteau appears in the demos: the first as the mayor, the second as a victim of Sakon, and the third as the Gibdo.
  • Crowd Song: The Clock Town Choir
  • Dark Reprise: Like in the game, the Clock Town theme becomes darker as the moon gets closer.
  • Darker and Edgier: The monkey gets boiled in the game, but it doesn't kill him per Rule of Funny. In Demo #4, it's fatal. This fate is averted in the actual opera.
  • Death by Adaptation: At the end of Demo #4, the monkey dies when he is dunked into the boiling water, where in the game, it merely turns him red. In the opera, he is saved before this happens.
  • Death Song: Mikau's Song
  • The Determinator: Kafei goes to all four corners of Termina to search for his mask. The only reason he goes into the swamp was because of a vague rumor he heard, which doesn't get him any closer to the mask. Not even the end of the world will stop him from searching.
  • Dream Ballet: Kafei's Dream has no singers, only dancers.
  • Grief Song: Darunia's Aria about his own death.
  • Leitmotif: Most characters have their own themes that they did not necessarily have in the game.
    • Skull Kid: Saria's Song. The happy tune represents his childlike innocence, but is rarely heard, since he is consumed by Majora for most of the time.
    • Sakon: Curiosity Shop theme. Mysterious and quiet.
    • The fisherman: Lighthearted and optimistic.
  • Not His Sled: Since Link is not around to save the day, it's not known whether or not the world will be destroyed in three days.
  • P.O.V. Sequel: It is essentially Majora's Mask from Kafei's point of view, and with Link absent.
  • Pragmatic Adaptation: Many things are changed from the video game to better suit the medium of an opera, most notably Link not being present. A more minor example is moving the rain from the second day to the second night to give the second act better pacing. Kafei can also reach areas that were inaccessible during the game.
  • The Promise: The entire reason Kafei is searching for his mask is because of a promise that he made to Anju. Promises are an important motif in the opera.
  • Stealth Pun: Sakon, in his aria, never says "suspicious," but he keeps rhyming with it.
  • The Voiceless: Skull Kid never speaks or sings. He only dances. Majora, however, has a female voice that is visible to the audience but not to the characters on stage.
  • With Lyrics: The opera's score consists of music from the game's original soundtrack that has been newly arranged with added lyrics.

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