Part 6: Bonus Update 1Bonus Update 1
Welcome back. For those who didn't follow my Ayesha thread and are just joining us, to cover the extra content the bonus room provides, every five normal updates, I'll do a Bonus Update. These bonus updates will cover artwork, the composer commentary for all the music in-game, and anything else I feel the need to put in, which for this game will probably be stuff from the anime (all the episodes had ending cards done by different artists. I will be including those).
Since this game had a ton of different composers (I think more than 10, though most didn't do more than one or two songs), instead of the tagging system I did last time, I'll just put the name of the composer after each song. Also, for the music, I'll be using the names from another site, but listing each song in the order the in-game OST gives you. One final, really weird note, is that Katla's theme does not seem to be on the actual OST released in Japan. It is in the in-game OST, but I don't see it anywhere on the actual, physical version. I'll have to record it and post it next Bonus Update. That's so strange to me. Let us begin.
An Atelier For Two
Synthesis In Progress
Atelier concept art
Administrative Office artwork
Promotional artwork / box art
Promise -Piano Version-
The game's main theme. We hope you enjoy the Dusk World through our illustrations and storytelling. The piano is based on my own demo, played by the pianist Kinoshita. Thank you! (Shimoda)
Autumn Collapse -Autumn Collapse-
This track was composed to tie into the main title theme. The idea was to convey the feeling of reading an old book, with a story taking place in a faraway land. (Shimoda)
Escha's standard battle theme. She has a soft appearance, so unlike other battle themes I created this track to convey that same softness. Rather than making an epic track, I wanted it to sound like a girl running around and bonking things. Guitar and bass were both played by Dani. (Yanagawa)
My Name is Legion
There are two factors that drive progress. One is the expectation of new possibilities, and the other is dissatisfaction with the status quo. Such dissatisfaction creates anxiety, but that anxiety can be surpassed by expectations for progress. (Kikuta)
This battle BGM has a fairly standard beat, yet feels more lively than usual. Guitar and bass were played by Dani, featuring an elegant solo section! (Achiwa)
A song for a time when you're not making a difference. You're making the difference.
A boss battle BGM. We had Achiwa, Yanagawa, Kikuta, and Shade all writing battle themes for this game, so I wanted to create an amazing boss theme better than any of their songs! Rock on, my Ricken 4003, Gibson SG, Hammond B3, and Minimoog! I also used a synth I borrowed from Shade. (Shimoda)
Increase the Altitude
The victory jingle made to transition from Escha's battle theme. Escha is the type who would get excited over any little thing, so I went all out. Catching an Updraft, one begins Gaining Altitude. Escha's fight won't end until the day she can reach the sky! (Achiwa)
Beyond the Light
Since this track is meant to transition from Logy's battle theme, I thought of Kikuta's tune and tone styles while composing this piece. I feel Kikuta has been a great influence on me in composing game music, and I am happy that I can continue to compose alongside him. (Shimoda)
Most RPGs, I usually just skip past the "Battle victory" theme pretty fast, but this is actually really good. I like it a lot, especially since it's surprisingly long.
Our Planet Has But One Sky
While gazing at sunlight beaming through rainclouds, I thought, "I want to write a song that captures this feeling; setting out on a journey under a sky like this." The song name is taken from Miyamoto Musashi's Book of Five Rings. (Shimoda)
Because the Sky is Red
This track conveys the feeling of the Dusk World. The flute is performed by Kenji Imai. He is a great musician who performed alongside Dweezil Zappa at the Fuji Rock Festival. He performed this piece far beyond my expectations. This is one of my favorite tracks in the game. (Shimoda)
Morning Dew Pizzicato
Escha's Atelier BGM. The light guitar / bass tune was played by Dani. By the way "Escha" is pronounced the same as "ESCA" in the Nagoya dialect. ESCA is a famous underground shopping center. (Achiwa)
A Canterbury jazz rock in 13/8 time. This theme conveys Logy's cool image with his work in the atelier. There are a lot of tunes this game with prime numbers in their tempos. The track name is taken directly from alchemy terms. (Shimoda)
A tavern run by a gruff man. The track builds up towards the latter half, as though it were recounting one's tale of valor. How exciting! The guitar and bass were played by Dani. A very stylish and passionate piece. Bravo! (Yanagawa)
The arpeggio on Dani's gut guitar has a very rustic charm. The name was taken from a sweets shop in Nagano City. If you are ever in Nagano, please stop by! (Achiwa)
The guitar and bass were played by Dani. I wanted to convey a bit of a worn down theme, so the instrumentation was kept simple. The tempo is a little strange, but I tried to make it subtle enough that you wouldn't notice. (Yanagawa)
Reason why peaceful tracks can deviate from peacefulness is because game music doesn't embody the human spirit. There is no true tranquility in the human heart. It's fate to live an eternal cycle of unreachable inner peace. (Kikuta)
I like this Kikuta guy's commentaries a lot, just saying.
The name was borrowed from a famous documentary. The contents were quite heroic. Once I start reading expedition or castaway stories, it is difficult to stop. (Achiwa)
Look Up at the Sky
Logy's theme. He's quite handsome. He also seems to have a dark past. It's like he's holding something painful back while acting indifferent on the surface. (Achiwa)
Tails Numbers One and Two
Escha's theme. I actually composed this with Logy in mind (mainly for his interaction with Escha), but Escha's warmth, as seen by Logy, ended up overpowering the track and it ended up as her theme song. (Yanagawa)
A Flower Blooming Nearby Part 2
Nio again. Her tomboyishness has faded quite a bit since the previous game, so I did an arrangement to match. (Yanagawa)
If you may permit another divergence, I'd like to do a little voice actor chat, since Nio is another returning character. Nio herself is voiced by Kira Buckland, who apparently also voiced Odelia in Ayesha. I did not pick up on that at all. Linca is still Julie Ann Taylor, and Michelle Ruff is still Marion. Cristina Vee returns as Wilbell (and, who I've also found, also voiced Totori's sister in Atelier Totori. I can see that, even if I haven't played Totori for about a year and a half now. Not surprisingly, she also has a ton of anime voice acting roles). I imagine, given the very good chance that Shallie gets localized, she'll be back for round 3 as Wilbell.
Anyway, Nio grew up nicely between Ayesha and Escha. Looks like Kyle was right about what he predicted for Nio's future.
Baby Bird Part 2
Wilbell once more. She's become more of an adult since last game. Wait. She doesn't seem to have changed much. Oh right, she's using magic to keep her size small. The same amount of magic power compressed into a smaller space allows for greater concentration of power. It all makes sense! (Yanagawa)
The Pen and the Sword Part 2
An arrangement of Marion and Linca's theme from last game. It was originally intended to be a jazz rock tune, but I dropped the tempo and turned it into a shuffle-beat jazz. I wanted it to fit a more adult Linca, but she has two sides. She can be quite awkward at times, but I like it. (Shimoda)
Apparently Gust took some popularity survey in-between Ayesha and Escha, and found that Wilbell and Linca were by far the most popular characters from Ayesha, so Linca's return is a no-brainer here. Marion and Nio transitioned quite nicely, but I say Linca has the best character redesign in this game. Her clothes are so ornate and fancy this time around, but last time her outfit was quite plain.
Glass is Boiling
The third installment in the long-awaited Glasses series! I don't think anybody was waiting. Anyway, this time the glasses are overflowing. Awin seems quite active for a character with glasses. (Achiwa)
I tried playing the piano while imagining a gentle lullaby, and it ended up similar to the sounds of Freddie or Paul or Todd. I like the gentle feeling conveyed by these three on the piano. (Shimoda)
What Should I Do?
As the title suggests, an incident occurs and you ponder what to do... Maybe less of an "incident" and more of a minor worry. (Achiwa)
Miss, Why Don't We Eat Apples Together?
Clone's theme. I actually have relatives who are apple farmers, and since every year I go for a visit, apple orchards are quite a familiar sight to me. If Clone was there, maybe it would sound like this? (Yanagawa)
Solle's theme. I think he really shines when he is speaking to a homunculus. (Yanagawa)
Colland's theme. I made this track to sound a bit like a man who might be unexpectedly dominated by an overwhelming wife at home. There is also a reason why the melody is the same as Solle's theme, as revealed in a certain event. Did you see it? (Yanagawa)
Rice and Meat Anthem
Duke's theme. The title seems like it should be dedicated to middle school boys. There was something like this in Yoshida Sensha's manga. (Achiwa)
New things are always built upon the old. Whether it is accepting or denying old ideas, the new is always born with the old in mind. The new carries the old within itself, and even if there is discord, it tries to open new doors towards the future. (Kikuta)
Special Finest Tippy Golden Flowery Orange Pekoe
An abbreviation of "Special Finest Tippy Golden Flowery Orange Pekoe". A grand arrangement of the DLC add-on BGM "Flowery Orange Pekoe" from Atelier Ayesha. The end of a development for an Atelier game is always around the season for the first teas of spring. (Shimoda)
This track has a light image, like taking a break after climbing a hill. It also seems to have a bit of Marion's image in it as well. (Yanagawa)
A Story of an Adventure in an Uninhabited and Terrifying Place
A BGM composed as the theme for an expedition, exploring numerous dungeons. (Shimoda)
The tone of the intro and drums are inspired by the Beatles. The melody was played on an Andes keyboard recorder. (Shimoda)
Milk-iro no Touge (Milk-Colored Pass)
The full version of the opening theme. The song is very catchy, so we ended up playing it quite a lot, along with the ending song, during development. Without even telling Yuu from Chirinuruwowaka, the lyrics ended up fitting the theme of the game's story. (Okamura)
Commentary for game edit: The opening theme for this game, by Chirinuruwowaka. Combined with the high-quality opening movie, some of us wondered if this really was an opening for an Atelier game. Thanks to this song and the film direction, we feel the opening is very unique and a huge success. (Okamura)
Okamura is the game's director, just so you know.
The Way of Heaven and Earth
An attempt to turn mystery into sound. A fusion where neither melody nor harmony are dominant, instead of weaving and intertwining closely together to form a subtle secret. At that time, words cease to be simple words, sounding out into a voice outstretched to embrace new life. (Kikuta)
"Hummingbird" reminds me of that game Laplace... This track borrows part of Escha's atelier theme and turns it into a swing style. (Achiwa)
If I think about it, I've made a lot of short jingles like this. By the way, I'm the type who likes to keep jingles as short as possible. Tempo is key in games. (Achiwa)
That was exhausting. Well, I hope you'll join me for the next update. Should have it up by the weekend. My schedule does not allow for a lot of free time, unfortunately.