What Shall We Make Next?
Congratulations on clearing the game! Hello, my name is Yano. This is the third title from the Atelier series that I have worked on, but this was the first opportunity I had to write an "in the atelier" track. This one is for Lydie. I used the underlying rhythm of the track to reflect her diligent, step-by-step development. For the introduction, I borrowed a little of the melody from a track written by Mr. Achiwa, for whom I have the greatest respect. (Yano)
A Story True to the Heart
This is Suelle’s "in-the-atelier" track. With twin sisters as protagonists this time, the map music has been designed to differ subtly for each character. For the atelier music, though, we thought a subtle difference wouldn’t be enough, so we wrote two entirely different pieces. In terms of feelings, Lydie’s track is more structured and serious, while Suelle’s features a more playful rhythm. (Yano)
Escaping the Crowds
This is the music played in town during the day when playing as Lydie. There is a lot to do in the town, the game’s hub, so the track is fairly long, to avoid repetition. Each part of the track features differing emotions, to encourage the player not to use the map shortcuts but to enjoy strolling through the town and absorbing the atmosphere of the game’s world. (Yano)
Through the Tumult
This is the music played in town during the day when playing as Suelle. Large parts of the melody are shared with Lydie’s version, but the key and arrangement differ. This version features drums entering from midway through, creating a more dynamic feel. While Lydie’s track expresses that "this is our home town," Suelle’s is a more proud expression of the fact that "we live in the royal capital!" (Yano)
A Town in Silence
Hello. Nice to meet you all. My name is Nakamura, and this is my Atelier series debut. This piece is for the town at night, so I tried to keep it simple with fewer different sounds. I have a bad habit of adding instruments unnecessarily, so through this track I learned the difficulty of a simpler arrangement. (Nakamura)
A Town Shrouded in Shadow
How are you, everyone? This is Daisuke Achiwa! This piece is for the moment the town is in crisis! The first version of this I made actually played up the tension too much, so that more than impending doom, it practically played as battle music. I was told to tone it down, and this less-panicked, less-intense track is the result. (Achiwa)
Waltz Do You Want?
The entrance hall of the castle in most games tends to have a grand, formal atmosphere, but in the Atelier series it is a place to accept quests and other jobs, making it more like an office or agency in its function. This track blends together these two images of the castle entrance. But this title… That’s pretty corny. (Achiwa)
Hum While You Work
This is Yanagawa! I’m pleased to have been able to take part this time as a freelancer. I’m enjoying my days back in my home town, feeding my pet minnows and finding my own happiness. But enough about me. This track is for the smithy. It’s so nice to fire up this sound again after so long. Since Meruru, I think… It really takes me back! (Yanagawa)
Garden of Memories and Faded Dreams -Lydie-
This tune is played when playing as Lydie in the Heavenly Flower Garden. In order to express the mysteriousness of the situation the twins find themselves in, I chose some more esoteric sounds than usually found in the Atelier tracks. The idea is to produce a light, happy feeling, like waking up in the middle of a dream. Most Atelier tracks have a well-defined melody, so the difficulty here was in balancing that with the ambience I wanted to achieve. (Yano)
Garden of Memories and Faded Dreams -Suelle-
This tune is played when playing as Suelle in the Heavenly Flower Garden. Most tracks in the Atelier series are recorded using live instruments, but in order to suggest the "otherworldliness" of the world within the paintings, we changed policy a little. Specifically, we incorporated synthesizers and drum machines to create the kind of arrangement that cannot be achieved by live instruments alone. (Yano)
Forest in Turmoil -Lydie-
The forest isn’t a true place of horror, but more home to charming and playful ghosts. The track reflects this playfulness. The tracks that play when in the paintings differ slightly depending on whether you are playing as Lydie or Sue in terms of the instruments used. Generally, Sue’s versions are more cheerful and poppy, while Lydie’s are calmer and more restrained. (Yanagawa)
Forest in Turmoil -Suelle-
Sue is more easily frightened, so the opening of the track has been adjusted to reflect this sense of fear. Incidentally, I myself don’t like horror movies. If the ghosts were a little friendlier it would be fine, but they all seem to want to attack… In fact, ghost or not, I’m afraid of anything that shows animosity towards me. (Yanagawa)
The Glittering Blue Depths -Lydie-
This is Lydie’s music for The Luminous Ice Grotto. The sound director made me retake the piece several times, saying that he didn’t want to hear any liquid in it – everything had to be frozen solid! But actually, there are parts of the map where the water isn’t frozen… In the end, I almost overused the synth pads which gave a sense of cold to the atmosphere, and eventually got the okay. (Yano)
The Glittering Blue Depths -Suelle-
This is Suelle’s music for The Luminous Ice Grotto. The drums here aren’t synthesized, but are recorded live, and the base line is a little more jumpy. The atmosphere of the piece is a little more speedy. By the way, can you see a little visual warmth in the scene, perhaps due to the reflection of the light, that counteracts the cold? I tried to reflect this element as well when selecting my instruments. (Yano)
In the Sea of Fire -Lydie-
It’s a volcano! Let’s hear that bass rumble! That’s the general idea here (lol). Personally, I like the aggressive piano part you can hear in the chorus. (Yanagawa)
In the Sea of Fire -Suelle-
I tried to make this one sound a little less intellectual than Lydie’s version. The feeling you should get from this is that if there’s a problem, we’ll tackle it head one! (Yanagawa)
Frosty Dream -Lydie-
I wanted to some how replicate the feeling of Neige’s closed-off heart in this piece. My first run at it was affected by the cuteness of Neige’s design, and ended up being too warm. I quickly scrapped that and started again. (Yanagawa)
Frosty Dream -Suelle-
This is nothing to do with the music, but did any of you ever used to get served frozen mandarins for school lunches? I oved them, and ever since I’ve been living on my own, I eat them every year. Just some local flavor for you. (Yanagawa)
Finding the Treasure -Lydie-
The idea behind this is to express the power and never-say-die spirit of Captain Backen. I remember being surprised at just how spooky the map design for the area was. (Yanagawa)
Finding the Treasure -Suelle-
Sue’s a lot more interested in material wealth, so I made sure to give the instruments more of a metallic twinkle. You’re probably thinking, that’s why he did that?! (Yanagawa)
Fragments of that Day -Lydie-
I felt that a certain feeling of speed would be needed to suggest fighting against the flow of time. I hope that you can sense their anticipation at being able to see their parents’ past in the music. (Yanagawa)
Fragments of that Day -Suelle-
No one likes the thought of having someone else see your own past. No one wants that humiliation. (Yanagawa)
Gazing upon the Same Star -Lydie-
A plain beneath a beautiful starry sky. I felt that Lydie would just keep gazing up forever if she could, so I kept the tempo nice and slow. In reality, there are very few situations in which you find yourself genuinely moved by natural beauty. Somehow, there’s always an element of embarrassment holding you back… (Yanagawa)
Gazing upon the Same Star -Suelle-
I can imagine Sue crying out "It’s so pretty!" and scampering around like a puppy. I think I’ve written this before, but I believe the image of a girl on an open field is such a picturesque one! It’s not the sort of thing you ever see in real life. And if you did see it, staying and staring at it could get you in trouble… (Yanagawa)
Pursuit of the Truth -Lydie-
This is Lydie’s music for The Black Horizon. "Make it sound like the final dungeon!" That’s what I was told, but how to do that…? After much thought, this is what I came up with. I did this in the previous title too, but it shares the introductory phrase with the music for the boss battle. (Yano)
Pursuit of the Truth -Suelle-
This is Suelle’s music for The Black Horizon. The drums in this version are recorded live, giving the piece a more "rock" feel. I wanted to really suggest her determination to settle matters with the Black Paint, and to make the player feel that the game is reaching its climax. While maintaining the sense of drama and drive, I also took care with the arrangement to make sure it didn’t sound like battle music. (Yano)
Decaying Crown -Last Light-
Hello, Toyoda here! I always find myself living in dark, depressing places drowning in clouds of despair… But I was glad to be hauled away from all that for a while to work on this title. It’s enough to make my heart pound… And it’s just so bright. (Toyoda)
Decaying Crown -Dark Night-
I also made a small contribution to the creation of sound effects. One that gave me particular trouble was the "sound of smoke." The sound given off by billowing smoke…? I may have to head back to "billow" ground and think about it. If you will excuse me. (Toyoda)
To Find that Voice
The soundtrack for the reunion with Honnete is an instrumental medley arrangement of a vocal song. The opening phrase, also used in the “in-atelier” music, is taken from the title’s main theme, imagined as a lullaby that Honnete used to sing to Lydie and Suelle. It’s used in a number of places throughout the title. See if you can spot it. (Yano)
Twin Birds Playing in the Fields
The main setting for the adventures in this title are divided into two categories: the standard field maps and the worlds inside the paintings. I was primarily involved in the former. This title has a particularly strong fairy tale vibe, even for the "Mysterious" series, and the protagonists are both very young, so I tried to make sure the overall feel is charming and optimistic. (Achiwa)
Twin Birds Playing in the Fields -Night-
This is a typical example of the "Mysterious" series’ nighttime arrangements. There are times when we begin with a plan for how we will arrange a piece to create a night version, and others when we make the daytime version without any consideration of its nighttime equivalent. There have even been tragic cases in the past in which the nighttime arrangement just hasn’t worked, and everything has to be started from scratch. (Achiwa)
Twin Birds Singing in the Forest
The forests that appear in anime and games tend to feature trees at convenient intervals allowing an idyllic space in which to enjoy a stroll. I sed to love stores of adventure, and growing up in the countryside, I found myself the nearest forest, and set off for what I hoped would be a thrilling journey… (continues) (Achiwa)
Twin Birds Singing in the Forest -Night-
(Continued from previous) But when I entered the forest, I found the foliage was so thick that I could barely walk! Forcing my way through the scrub would only result in scrapes and scratches, not to mention the mosquitoes! I remember dragging my sorry body home, and realizing that untouched nature is no fit seeing for any tale of adventure. (Achiwa)
Twin Birds Flying through the Wilderness
There are many different settings for adventure stories, but this barren wilderness is probably the hardest for a Japanese person to imagine. These wastelands tend to be endless vast, and are not something familiar to us coming from a land that is both narrow and mountainous… (continues) (Achiwa)
Twin Birds Flying through the Wilderness -Night-
(Continues from previous) The other difference is that Japan is a humid and rainy land, and the idea of a wasteland in which nothing grows is certainly foreign. Any flat land that doesn’t need to be deforested will also already have been co-opted for use for agriculture or housing. After all, we have so many people and so little space. (Achiwa)
Twin Birds Dancing in the Snow
For me, snow always brings to mnind skiing. Around thirty years ago, skiing enjoyed a real boom in popularity here in Japan. I was still at junior high myself, but my adult sister used to get up early with her friends, pile into a four-wheel-drive and travel miles to the nearest ski field. I sometimes went with her… (continues) (Achiwa)
Twin Birds Dancing in the Snow -Night-
(Continued from previous) I got my first job about eight years later, and although the boom had subsided somewhat by then, skiing was still popular. The fact that I had all my own gear, despite my lack of sporting skill, is evidence of that. I only ever went a handful of times, and I can’t ski all that well now, but looking back it makes you realize the power of a social craze. (Achiwa)
Hydrangea -Part 1-
This is Lydie’s standard battle music for the first part of the game. I was given the difficult task of incorporating the melody used in the opening theme within this piece. I was quite proud that this was a rare piece for me in four-four time, but as HIROTOMO, our bassist, pointed out, I break the time signature in the introduction. He has a point. The piece also features Miyoshi on guitar on TAM on the violin! (Yano)
Hydrangea -Part 2-
Miyoshi is on the guitar, and HIROTOMO on the bass here. It was only when I came to prepare materials for the performers that I realized how up-tempo this piece is, despite the fact that it features several difficult accents throughout. The materials therefore feature repeated apologies from me for the speed and difficulty of the piece I was asking them to play. (Yano)
Hydrangea -Part 3-
This is the first eight-beat piece of battle music I have been involved in in the Atelier series. The chorus has a singalong feel featuring a call-and-response rhythm, so in order to make this more easily understood, I decided to arrange the piece in a piano rocky style. I really got into it, and pounded the keys so hard that by the time the deadline was upon me, my right middle finger was bleeding internally. It really hurt. (Yano)
Sunflower -Part 1-
This is Sue’s battle music for the game’s opening section. My task was to pick out the Sue-related phrases from the opening theme, and mix them in. It was a lot easier said than done. I asked Ono to play the violin parts. He always does such a fantastic job. (Yanagawa)
Sunflower -Part 2-
The game has reached its middle section by now, and the music has become much more vibrant. As if there isn’t even time for an intro, the arrangement jumps straight in with the first verse (lol). Parts 2 and 3 also borrow phrases from the opening theme, so see if you can spot what they are! The title is a reference to my image of Sue. It doesn’t sound much like the title of a battle theme, but I like it. (Yanagawa)
Sunflower -Part 3-
The battle music from the latter part of the game. It seems at first that Sue’s newfound maturity is reflected in the fact that there is an intro… but then that intro ends up moving straight into the first verse – as impatiently as ever. The subsequent melody is taken from Etel Nepica. That’s right – she’s been through a lot, and grown up. Oh, and the wild base line – that’s just me having some fun. (Yanagawa)
Albireo
In terms of the story, I guess this is the battle music from near the dramatic climax. Flow-wise, this is where you want the music to rise to a crescendo, so I strove to create a heroic tone, to which I added a range of twinkling, sparkling instruments to suggest fairies fluttering around. (Achiwa)
Mysterious Painting
This is the generic boss battle music, which you may have noticed was used in the promotional video. It features TAM on violin, Miyoshi on guitar, and HIROTOMO on bass. The sound director had just ordered a retake, and I was about to start on a rewrite when a message arrive from the game’s producer: "This track is fantastic!" Thank you very much, Mor. Hosoi. You saved me. (Yano)
Gemini Wing
Lead and backing guitars are played by series regular Toshinori Hiramatsu, with his usual panache. This piece was ordered for use in generic scenario boss battles. Personally, I like the way we managed to achieve that balance between the light touch of a standard battle and the heaviness of a boss battle. (Achiwa)
disorder in order
This track is for the battle against the Remplir. It’s an instrumental arrangement of the track for the final boss. I tried to remain aware of the fact that this battle is against something of an “outsider” even in the world of the paintings, and deliberately chose and ostentatious rhythm track with sound effects and electric guitars to function as the composition’s core, and added more typical Atelier-style live instruments to paly the melody. (Yano)
Shooting Star (Lydie & Suelle Ver.)
Hello. This is Ryudai Abe. I’m delighted to have been able to contribute again this time. I was given absolutely free rein to arrange this piece how I wanted. I hope you all like it. The original work is a lovely piece which I am very fond of. Shinpei Nozaki plays the guitar. (Abe)
Losaria
Toshinori Hiramatsu plays guitar on this track too. This piece feels typical for a collaboration between him and myself (lol), but the melody itself is fairly ostentatious. Part of this is due to the look of the boss, but I have always liked combining two antithetical elements within the one work – vigor and grace, for example – to create real complexity. (Achiwa)
Journey to the Beyond
This is Firis’s battle theme. It’s an arrangement of the grand ending theme of the previous title in the series. The original track featured a complex time signature, but this time we have kept it to a simple, catchy four-four beat. The instrument selection differs slightly in general between the previous title and this one, but for this track only we have stuck to the style of the previous title. This is one of the unique joys of working on a long-running series. (Yano)
A Walk in the Woods
Hello. Due to a confluence of circumstances, I was asked to arrange just a single track on this title. With the single-minded desire to make our Lydie even more adorable and attractive as a character, I wrote this piece with total dedication to my cause. Ride the rhythm carved out by accordion and marimba, and take a journey to the land within the paintings to make your dreams come true! (Mizukami)
Sue's Favorite Things
This is the first piece I have ever written for the Atelier series, and was quite a labor of love. The sound director came back to me after my first effort with the comment that it was too refined. Matching it with the other music I the title proved quite difficult. If the piece blends in to the game world without sounding out awkwardly, then I will have succeeded. (Nakamura)
Flying the Nest -Lydie-
This is an instrumental arrangement of the opening theme for use in emotional moments. This piece is for Lydie, and features prominent use of piano and violin. It is something of a stereotype, but these are the instruments that go best for a mild-mannered girl like her. (Achiwa)
Flying the Nest -Suelle-
For the fearless Sue, I used guitar and oboe as the central instruments. Guitar is unsurprising, but many of you may find the choice of the oboe unexpected. I tried a few others, like the tin whistle, but there was just something about the oboe that matched this piece well. Perhaps it’s just that I love the oboe. (Achiwa)
Flying the Nest -Lydie & Suelle-
This is a combination version of the emotional instrumental arrangements. I had no plans to make this, but as both the Lydie and Sue versions are just instrumental arrangements of the opening theme, this combined version just appeared as a by-product of that. (Achiwa)
Song of Leaving Home (Lydie & Suelle Ver.)
Firis’s theme returns. Her character theme in the previous title incorporated her loneliness and uneasiness at journeying into the unknown, but in this title she has grown into a fine alchemist, so this version reflects her newfound confidence. (Achiwa)
Let's Try It! (Lydie & Suelle Ver.)
Sophie’s theme yet again. The original version of her character theme expressed her naivety and innocence as a novice alchemist, but by this title she has become an alchemist of some renown and ability, and she comes across as a very grown-up, reliable young woman. This arrangement takes that growth into account, and reflects this maturity. (Achiwa)
What Do You Know?
A carefree, handsome man, with a few issues. If you want to last a long time as a male character in the Atelier series, this is actually the position to occupy. He may look flighty and unreliable, but when push comes to shove… The characters who are too cool to being with always end up meeting some stick end, and are often given some weird fetish to boot. No one wants to become comic relief. (Achiwa)
Scars (Lydie & Suelle Ver.)
...I told you that it’s dangerous to play the cool guy… But I suppose that’s the position this fellow was always going to occupy. I’m not sure how much I can give away here, but I will say that Sophie and Plachta must be pleased to see him looking so healthy. In a way, he is the key character at the end of Atelier Sophie. (Achiwa)
Not That I Care...
The protagonists’ heartless rival, from a famous family. I kind of like finding little categories for each character to fit into. In fact, when you put each character into these stereotypical categories, it just serves to accentuate and highlight the ways in which they differ and are unique. In the end, it is these differences which wind up being the most important factors in the drama of the story. (Achiwa)
An Alchemist, an Artist and Our Father!
The protagonist’s father is a role that has appeared several times in the Atelier series (one was even a king), but I’m not sure any have been quite as distinctive and unique as this one. But while he is odd, certainly, he’s actually quite a handsome man. That’s kind of unfair. In old anime, the oddball characters generally had oddball faces, too. (Achiwa)
Who Are You?
Considering the character’s position, I wondered whether I should make this piece a little mystical and emotional, but once I checked the story, I realized that wouldn’t be necessary. She also seems to handle the monologues slipped into the story here and there, and while that may not be that significant in terms of her character, I tried to incorporate that into the music as well. (Achiwa)
I'm Counting on You Both!
The responsible older girl. What’s more, it seems there’s more to her than just being the receptionist. I also like the shift in balance as the game progresses, from the player characters relying on her to her beginning to rely on the player characters. Being able to savor that satisfaction of helping out others really is one of the great attractions of the Atelier series. (Achiwa)
A Small Prayer
Yet another nun to make an appearance in the Atelier series. But just what is her story…? To match her image, I used an organ, to create the concept of a small church that is more friendly than solemn. To be honest, I’ve only ever heard a church organ live about three times in my life. All at weddings. (Achiwa)
Unendurable Eccentricity (Lydie & Suelle Ver.)
Since it’s the twentieth anniversary of the series, I thought I’d like to arrange a track from the original title, Atelier Marie, but I never thought I’d get to have a crack at this one (lol). Those who have only played the Arland series titles might be surprised, but the original blacksmith’s theme sounded like this. (Achiwa)
Dreams of a Book (Lydie & Suelle Ver.)
Along with Sophie, Plachta has appeared in every title in the "Mysterious" series. Her character theme is well-known for its unique arrangement, so it’s certainly difficult to rearrange it in a different way. At first listen it may not seem any different to the original, but the instrumentation is actually significantly altered. (Achiwa)
I'm Not Even Trying (Lydie & Suelle Ver.)
Ilmeria’s theme returns. The original track played up her youth, but in this title she is the responsible teacher who provides support to our protagonists. To reflect this, I have arranged the track as a serene, composed waltz. It’s really nice for fans of the series to see these favorites from previous titles returning as more grown-up responsible versions of themselves. (Achiwa)
Camellia Sazanka (Lydie & Suelle Ver.)
Corneria’s theme again. She still seems to be operating her shop, and there hasn’t been any dramatic change in her appearance, so I was at a loss as to what changes to make to the piece. In the end, I took inspiration from her clothing, and incorporated something of a Japanese taste into the music. (Achiwa)
Wind Chaser (Lydie & Suelle Ver.)
A rearrangement of the theme for Liane. In Atelier Firis, we intentionally made the rhythm for her theme weaker and gentler in order to suggest her internal fragility. This was unnecessary in this title, meaning that the final result is a jauntier, more cheerful feel to the arrangement. (Achiwa)
Bright Girl (Lydie & Suelle Ver.)
This is the theme for the puppet-loving family Fritz and Drossel. Checking their events I the game, I felt that Drossel’s "Bright Girl" theme would serve well as a base for the track. Come to think of it, there was a secret message hidden in the comments for that track… (Achiwa)
Ghost Girl (Lydie & Suelle Ver.)
The familiar Pamela. This is probably the single character them that has gone through more incarnations than any other. Appearing firstly in Atelier Judie, it has made subsequent rearranged appearances in Atelier Viorate, Atelier Iris 3: Grand Phantasm, Mana Khemia, Atelier Rorona, Atelier Meruru, Atelier Sophie, and finally this title. How many have you heard? (Achiwa)
Off Together
This composition represents happy, everyday life. Image-wise, it drifts closer to Lydie. This was one of a few tracks I wrote for this title in which I played an instrument myself: the flute or the keyboard harmonica. I always enjoy the recording phase, as it makes me feel like the whole creative process is coming to an end. (Yanagawa)
Twin Leaves
A slightly more cheerful everyday piece. This one was written with the image of Sue in mind. I like the chord progression used in its opening, and I find myself using it subconsciously a lot. I find its slightly melancholic feeling somehow attractive. (Yanagawa)
The Road Home
I was instructed to write a calm, composed piece. It has the feel of a nostalgic traditional folk song like Yuyake Koyake (The Sunset Glow). You come home in the evening to find your mother preparing dinner. She tells you to wash your hands, so you head for the bathroom. Once you’re ready, you help her set the table… These memories of childhood are the kinds of nostalgia I was aiming for. (Yanagawa)
That Looks Like Fun!
This is an exuberantly happy track. Not cheerful or vibrant, but happy. I feel like true happiness makes you run about, then stay still and soak in the moment. This was the image I was going for here. With the relative youth of the protagonists this time, it may also have a more childish feel. (Yanagawa)
With Your Hand on Mine
This is a melancholy piece, but I did intent to include elements of warmth as well. I made sure to try and keep my own feelings melancholy as I wrote by thinking of sad things. Unusually for me, that evening, I ended up drinking alone. (Yanagawa)
Hearing the Voice of Truth
This is the backing for a very important discussion, so I made sure that the music maintained a consistent level of excitement so as not to interrupt. It’s enough to make you sleepy. (Yanagawa)
Threat
A track with the feel of coming under attack. I added a flute, though, to soften the tone a little. The nature of the series is such that you always want to keep a sense of comfort at all times. (Yanagawa)
That Glaring Girl
A track positively brimming with suspicion. But lest you think this is a simple piece, I can assure you that the chords in this composition are complex, and overall, it was very difficult!... But I understand that the struggle doesn’t really come across. I feel like I’m always making this complaint! (Yanagawa)
No More Uni Soup
"I’ve gone and done it now…" This is the feeling this track possesses. In the real world, when I make a mistake the kind of piece two above this one plays in my mind! I’d much prefer to hear a light, comical piece like this instead! (Yanagawa)
Overworked Xylophone
This, too, is a familiar(?) comical march. I’d really like to use deeper notes for the main melody, at least in parts, as it would be more humorous, but the idea of matching deep notes with pretty young girls is always just a step too far, and I never quite manage it. (Yanagawa)
Softly Turn the Page
An arrangement of the opening theme for use in an event scene. A large part of the reason it is difficult to arrange a piece written by someone else is that many tracks are almost designed to work only the way they were originally intended by their creators. How to arrange them without breaking that balance is the true challenge. (Yanagawa)
A Dream Come True
The ending event track, which is also an arrangement of the opening theme. I would love this game to be the kind of one which makes you feel positive and optimistic after clearing it, and I would love it still more if my music could contribute to that sensation. (Yanagawa)
Did Your Dream Come True?
And after that hear-warming discussion in the above section, here’s one that feels like a raven is crowing from the beginning. The world is a cruel place indeed… This is for the bad ending. My main concern when writing this piece was how much it was okay to break down the beautiful opening theme. I hope it has enough of a comic element that it brings about a wry smile. (Yanagawa)
Captain... Backen!
As this piece is for a comical pirate character, I was fairly concerned when I was first given this task that it might be difficult to work out how to tackle it, but a perusal of the storyline and script gave me all the inspiration I needed, and in the end it was simple. Musically, the piece features ethnic elements, while snare drums and brass instruments give it that piratical feel of the ship cutting through the waves. (Tomizawa)
Who Are You? (Piano Ver.)
This is the emotional version of Honnette's theme. I thought particularly of the twins' "promises with Mom", and how they must have been thought them from a very young age. What a wonderful mother... (Yanagawa)
Camellia Sazanka (Music Box Ver.)
Corneria’s music box. How come the music has been redone from scratch, you ask. Well, there are certain legal… Uh, no… Uh, during her trip, she needed to get it fixed, you see, and the sound must have changed, hahaha… (Yanagawa)
Do It Like This, This and This
And finally, like this. (Achiwa)
The Mysterious Paintings
This is the music played at the title screen. As is traditional in the "Mysterious" series, the title track features a clean piano sound at its core. The melodies from the tracks "Painting" and "Canvas" appear and disappear alternately. It got to the point at which even I began to forget where one melody ended and the other began (lol). (Yano)
The Mysterious Paintings -Reprise-
The second title screen track. As is traditional in the "Mysterious" series, the musical tracks change as the player progresses through the game. For the vocal work, we asked Yuka, who also did such a wonderful job in Atelier Sophie! We only contracted her for the “lalala” part at the beginning of the track (the main theme), but she threw in a few ad libs in the back half too.. We ended up using it all! (Yano)
Reading Time
Jingle played when reading a recipe. That moment when you know you can make a new item really is great, isn’t it? This emotion is the reason why it’s quite an upbeat little ditty, even though the character is reading… Actually, I just made that up now. Sorry. (Yanagawa)
Victory Pose -Lydie-
This is Lydie’s victory music. Lydie’s part from the opening theme is used. The opening theme really is used in so many places throughout this title. (Yanagawa)
Victory Pose -Suelle-
This is Sue’s victory music. Sue’s part from the opening theme is used. The opening theme certainly is used in many places throughout this title.
…Hey, this isn’t just a copy and past job! I changed it ever so subtly! (Yanagawa)
What Shall I Buy?
Hello, and nice to meet you all! When I go shopping, I find that even when I visit familiar stores, I find myself getting quite excited when I consider what to buy. When I was given this commission, I decided I wanted to express that excitement in a composition. I would be thrilled if the players could sense that intent within the progression of the piece. (Kuroma)
Any Requests?
The quest screen. This is another very "typical" composition, although it actually may be quite rare in recent Atelier titles. I’d love to be able to play the flute like this, but I hate to practice… That sort of feeling. (Yanagawa)
Mysterious Worlds!
I never know what to write for these jingles. What shall I write this time…? Oh, I should mention that the Atelier series is celebrating its twentieth anniversary this year! Congratulations! And a huge thank you to all you fans out there! It really is a thrill for me to have taken part in every title of the series, starting with Atelier Marie. (Achiwa)
Mysterious Days!
So, twenty years of the Atelier series… What’s more, titles have been released at a relatively high pace for an RPG series, meaning that it really does feature a lot of games. There are almost no jingles that have been used throughout. That’s probably pretty unusual for a series that has continued for such a long time. (continues) (Achiwa)
Mysterious Allies!
(Continued from previous) To be honest, none of this has really been a conscious decision. We just like to create new tracks for each title, and the series has just ended up carrying on longer than we ever imagined. Well, there is comfort in the familiar and there is joy in the novel as well. (Achiwa)
Mysterious Items!
For these short jingles, the titles all tend to be similar. For example if a day is to pass, it’ll be called "Good night", or something. I mean, there’s no real issue with the titles being the same, but it just annoys me somehow – I feel defeated! So this time, we’ve put the word "mysterious" in all of them. So what, I guess… (Achiwa)
More Mystery!
I was kind of at a loss regarding this title, but I think it came up with something good here (he says boastfully). There’s something about the word "mystery" that really makes the heart beat faster. I always loved the mysterious, even when I was a kid – monsters, ghosts, cryptozoology… It’s that love of the mysterious that led to this job in a way. I always really look forward to seeing the monster designs in each title. (Achiwa)
The Next Day!
This jingle plays at the start of each chapter. It features a motif from the main theme, replicated in a loose, relaxing way. This title is supposed to be an "everyday life RPG," so I hope that relaxed, informal atmosphere does come across properly. (Yano)
Passionate Twin Attack
A short jingle used when executing a special move. These are similar in use to the finishing jingles from earlier titles in the series, but in this title they are played when combination moves are used. This one is for the protagonist twins, Lydie and Sue. Obviously, this was always going to be an arrangement of the theme song. (Achiwa)
Seven-Colored Codex
This is for Sophie and Lydie’s combination attack. It samples the melody of a certain tune – I wonder if anyone can tell which. (Achiwa)
Final Sanctuary
This one is for Lydie and Alt’s combination attack. From their characters and the name of the move, I felt this needed a touch of adolescent arrogance, so I deliberately made this in an awkwardly grand RPG style. (Achiwa)
Firis Surprise
Firis and Sue’s combination move jingle. This piece has a really typical Atelier feel – fantastical and yet comical at the same time. Based on Firis’s personality, it is a cheerful march. (Achiwa)
Full-Power Gunplay
Mathias’s special move! I have a feeling that if Mathias existed in real life, he’d be very popular with the ladies, but what do you think? I like Sue’s line here. (Yanagawa)
Einzelkampf
This piece isn’t actually as sweaty and masculine as some might fear. I figured everyone’s glues to the screen anyway, so I could afford to really play around with the bass line. I found myself doing this a lot in this title… To be honest, I’ve always wanted to, and I just couldn’t hold it back anymore… (Yanagawa)
Happy Alchemist
Sophie and Firis’s combination move. The melody is a mix of tracks related to each of them. It is quite fascinating to have protagonists of three different titles together. (Yanagawa)
Mar 28, 2018, 08:45 AM
Similar Threads
Linear Mode
