Part 4: Debrief

Chapter 1 debrief

And with that, we’ve finished the first chapter of the game! I figure now would be a good time to post some extra stuff about the art and music of the game, complete with composers’ notes.

Yuugen and NOCO were the illustrators for the Mysterious trilogy, and with that, Yuugen drew Lydie and NOCO drew Suelle. You can even tell who drew whom by their in-game models:



As a rule of thumb, you’ll know which characters Yuugen drew because they’ll have super glimmery eyes, while NOCO’s characters have more solid-colored eyes. The girls NOCO drew will also have a bit of a blush in their artwork, even when they’re not literally on fire like Lydie at the end of the first update.

Background stills:
Atelier 1
Atelier 2
Atelier 3
Church of Vegne

CGs:
Synthesis (Lydie)
Synthesis (Sue)
The Life of the Twins

Music:
Chroma
The opening theme! Vocals are undertaken by Riya of Eufonius, together with Ceui, who sang the grand ending theme of the previous title. Featuring the gimmick of playing two tracks simultaneously, this song led to me being accused of being a pervert again by the bassist, HIROTOMO. Miyoshi is on guitar, while the violin is played by Mukoyama. […] Sound director Saito fired an arrow at us affixed with a remarkably original request: to come up with something that suggests that two people heard the same song, but remembered the melody differently. That’s a lie. There was no arrow. The request was verbal. I responded by suggesting that we play the two tracks simultaneously, which was a nice idea, but a lot harder to put into practice. To say this took plenty of trial and error would be an understatement. (Yano)

As Yano alluded to, the title screen opening theme is actually comprised of two vocal tracks running side by side:

Canvas
One half of “Chroma,” Lydie’s song, sung by Riya, featuring a grand, solemn arrangement centered around strings, piano and orchestral percussion. The lyrics are also more restrained, with a more logical and intellectual feel than those of the emotional and active Suelle. The backing vocals are sung in pure neologism, created by Riya herself - what is commonly known as Riya-ese. (Yano)

and…

Painting
The other half of “Chroma,” sung by Ceui and representing Suelle, featuring a simple guitar, drum and bass arrangement, with the lighter touches added by electric piano and violin. By comparison to the restraint of Lydie’s half, the lyrics feature dynamic, emotive and intuitive phrases like “set off running” and “do what the heart desires.” There is also a lot more vigorous vertical movement in the melody line. (Yano)

and on THAT note, as you might have guessed from the descriptions, Lydie-specific tracks sample heavily from Canvas while Suelle-specific tracks sample heavily from Painting. For example, of everything introduced so far, here’s Lydie’s tracks:

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 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)

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)

and Suelle’s tracks:

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 featuers a more playful rhythm. (Yano)

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 in the title proved quite difficult. If the piece blends in to the game world without standing out awkwardly, then I will have succeeded. (Nakamura)

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 so many places throughout this title.

…Hey, this isn’t just a copy and paste job! I changed it ever so subtly! (Yanagawa)

So I hope you liked the title screen opening, because if you watch along you’re going to be hearing it a LOT in some way or form. And now for the rest of the music, in the order in which they’re listed in the game’s Extras section…

Escaping the Crowds
This is the music played in town during the day when playing as Lydie. There is a lot to do in town, 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)

If you have Suelle active in the overworld, this is the track that plays instead in Merveille:
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 expressed that “this is our home town,” Suelle’s is a more proud expression of the fact that “we live in the royal capital!” (Yano)

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 hometown, feeding my pet minnows and finding my own happiness. But enough about me. This track is for the smithy. It’s so nice to be fire up this sound again after so long. Since Meruru, I think… It really takes me back! (Yanagawa)

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 arrived from the game’s producer: “This track is fantastic!” Thank you very much, Mr. Hosoi. You saved me. (Yano)

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)

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)
I didn’t mention this when Hagel showed up, but yeah, you might have recognized him from the Arland trilogy or the Atelier Iris games, or maybe even the Atelier Salburg games if you’re really in deep with this series. In the Mysterious trilogy (or really, just in Lydie & Suelle since Logy fulfilled your smithy needs in Sophie and Firis), he comes from a long line of blacksmiths in Merveille.

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 somewhat 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 childhood 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)
Fitting notes, since this track will play during some of the most exuberantly happy scenes in the game.

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 things. (Yanagawa)

That Glaring Girl
A track positively brimming with suspicion. But lest you think this is a simple piece, I 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. Int he 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!

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)

Masterpiece!
For the avant-opening theme, we asked Haruka Shimotsuki and Mineko Yamamoto, two integral pillars of the Atelier series soundtracks, to provide the vocals. While the song was originally conceived as a solo vocal track, I convinced sound director Saito to let me do things this way (lol). HIROTOMO is on bass, Miyoshi on guitar, and Mukoyama on violin. […] We were instructed by Mr. Jin, the scenario writer, to make this sound like an anime opening theme song. Just the other day, I attended the concern commemorating the twentieth anniversary of the Atelier series, and I saw just how excited the crowd was when Haruka Shimotsuki and Mineko Yamamoto were singing. I thought then that I’d love to write a song like that, so I really thought about the live performance aspect when I wrote this. (Yano)
Haruka Shimotsuki's sang a song for most of the games in the series, while Mineko Yamamoto sang the openings for the Arland games and also the avant-opening for Firis.