Hello, Tsuchiya here.
It's gotten pretty cold, hasn't it? I hope you're all taking good care of yourselves. Well, today we had the recording for "Ar tonelico 3 drama CD side.Tilia". Finally, we've been able to record a drama CD where the Elemia Trio (Shurelia, Frelia, Tilia) all appear together; the heroines from Ar tonelico 2 and 1 also make their appearances here. There are a bunch of things that are relevant to the world setting in this CD (even if they're fairly light-hearted), and I'm sure that those of you who have been following the series for a while will enjoy a number of the scenes in this CD. The general feel of this drama CD is a little different from the others, and I think it's turned out to be pretty interesting. Of course, there's a lot of lovey-dovey scenes between Aoto and Tilia, so I hope you'll have a listen.
Now, then, I've done my best to answer your questions again this time. We'll be answering questions again for next time, so make sure to send us some! Though, having said that, the next issue will be the last time we run this segment. Thank you for all the questions you've sent us! I hope I'll be able to run another segment where we can communicate as well as we have in this one. I don't know how well it will turn out, but I hope we'll be able to hold a conversation like we have until now. Even if the nature of the segment changes, I hope you'll continue to follow our writings!
There's a limit for how many Reyvateils can be registered in the SH Server?
The creation of new βs and the overwritting of adresses for dead Reyvateils wouldn't give to the Server a heavy usage due to the number of deletion and writing cycles?
So if we take as an example 100 years of said cycles, wouldn't this oversaturate the Server with too many Reyvateils?
Since the memory has a certain capacity, there's a limit for the number of Reyvateils that can be registered.
As you might be guessing, the capacity the SH Server has for storing Soulspaces is quite large, and as an example, an official government SH Server such as Ar tonelico (simply put, the SH Server in which Misha and the other Reyvateils of Sol Ciel are located: _ARTONELICO/.) has roughly space for a million of Reyvateils, while prior to the great catastrophe, during the First Era, private Servers were quite popular among the people, although their capacity varied from a few hundreds to a few thousands of Soulspaces.
Of course, the above count includes Third Generations as well, which means that around 70% of the memory is always working to its fullest.
I have a question about the ancient songs and legends of Ar Ciel. In the 4th issue of this same column, you told us that [Singing Hill ~Harmonics EOLIA~] was an example of [a song that everyone in that region would know pretty well], so songs like [Singing Hill ~Ar=Ciel Ar=Dor], [The Forest of Shelanoir], or Frelia's and Tilia's version of Singing Hill are also [songs that everyone in their respective regions would know]?
First, I'll add something to that explanation: while we're treating [Singing Hill ~Harmonics EOLIA~] as an example of [a song that everyone in that region would know pretty well], that doesn't mean that the entire song of Singing Hill EOLIA itself is a folcloric song handed down in that area. The conspicuous parts of the melody, such as Melody A and Melody B were the ones we created as a folcloric song (to put it simply, Singing Hill EOLIA was created as if it was an expansion of a folcloric song from the game's world).
Singing Hill FRELIA, TILIA and ArCiel=ArDor were all created with these same feelings, so it's correct to consider them in the same way: that part of them exists as a folcloric song in each of the regions of Ar Ciel.
That was because one of the kanjis used is a nonstandard one, so the web browsers couldn't display it. To explain it, you know how the kanji for forest (森) is formed by three kanjis for tree (木), right? Well, the missing kanji is the water (水) version of that: it has two small water kanjis at the bottom, and a large one in top. The on-yomi for it is [BYOU], while the kun-yomi are [haru-ka] and [hiro-i].
In the Settei Book for Ar tonelico 2, we were told that the waves played by EXA_PICO were the R, N, Tz, D, V, Vx, K, H and S-Waves, but in the booklet that came with the first press of the CD [Singing Hill ~Ar=Ciel Ar=Dor], Clyuue was described as a being created by [U-Waves], which weren't among the ones mentioned previously. Why does this happen? And if possible, could you please mention and explain the names for the R, N, Tz, D, V, Vx, K, H and S-Waves?
(Nyo? from Hachijou Island)
When we wrote the Ar tonelico 2 Settei Book, we only mentioned an extremely, extremely, extremely... small part of the waves played by EXA_PICO. In reality, EXA_PICO emits a countless number of wave types. Among them, the 20 strongest ones are the ones that create planets, while only seven of these are the ones that give shape to the humans.
It would also be difficult to explain each of the wave types in detail, so the best I can do is explaining [how they are transmitted through the space], since that's what all the wave kinds have in common.
For example, while D-Waves are called the waves of matter, that is because we can see the phenomena caused by them with our own eyes (strictly speaking, annihilation caused by D-Wave interference, and D-Wave reflection are both events that we can measure), and because of the collisions caused by light and dark D-Waves (which is also caused by repulsion between two opposite D-Waves).
While H-Waves become voice and feelings, both of them have nothing in common beyond spreading greatly beyond their point of origin. U-Waves are similar to H-Waves, except for being used only by beings on the same level as the Wills of the Planet, Tz-Waves are waves essential for the trajectory of celestial bodies like Ar Ciel and Sol (the Sun): in other words, they are like the slopes and dents that indicate the planets where they can roll down (sorry... that's the simplest explanation I could come with for them). K-Waves are related to the photosynthesis performed by plants, and are the waves used by the plants and the Sun to converse with each other. However, the Tz and K-Waves are among the waves that haven't been explained by the civilizations of Ar Ciel yet. Also, there are also other star systems in which R-Waves live and D-Waves are inexistant (in other words, worlds where R-Waves are the waves of matter). However, it doesn't mean that these waves have any special directionality or physical qualities: they merely exist in separate dimensions, and how they will be used in each world is something that only these worlds (and their star systems) can decide.
If I ever have the chance and there's enough demand for it, maybe I'll give a more in-depth explanation about the waves.
Reyvateils are female-only, and thus only women would be able of singing Hymmnos, but in the case of songs crafted by the Wills of the Planet like Ec Tisia, which are [songs that aren't Hymmnos but still have powers], would male Gods like Nayudara or Koudeinomikoto be able of singing them by themselves?
Even if there weren't any female deities, it wouldn't be impossible for them to sing the song.
Reyvateils may be female only, but they aren't so for such a reason as [if there weren't any women, Song Magic couldn't be sung]. It was merely because they ended up being female only. In other words, if the main inhibitors were eliminated, it would be possible to create male Reyvateils, and they wouldn't have any problems at all to sing.
As for the Wills of the Planet, they don't have anything we could classify as gender in the first place, and thus are genderless. When they descend to the world to interact with the humans is that they decide if they will take either a male or female appearance.
In other words, most likely Nayudara and Koudeinomikoto are revered as Gods just because they happened to take a male appearance when they first descended to the surface a long time ago. As for the Songs... well, the Songs of the Wills of the Planet are in the language they use to communicate between themselves, so naturally they can sing as well, and their songs would still have power.
1) Since the Demigods had the role of serving as intermediaries between the humans and the Wills of the Planet, could we consider Tilia as an artificial Demigoddess of sort, since she was created with the goal of conversing with the Planet?
2) Once their task was complete, what happened to the Demigods?
3) I have a question about FLIP. FLIP basically causes effects in the world at the cost of the singer's soul? Since the Heroines were pretty much spending their life to use it, I don't think it had many practical uses.
So if the FLIP-style Song Magic had be perfected, would it have a reduced burden on the singers?
1) Yes, we could consider her in that way, too. However, if Demigods would have any abilities that would surpass that of most humans, what kind of abilities, and how they would use them, that would be entirely dependant on themselves.
For example, that Demigods were able or unable to contact the Gods (the Wills of the Planet) is something that was decided by the Wills of the Planet themselves. So while it wouldn't be an exaggeration calling Tilia a Demigoddess, due to having these special abilities, it would be a mistake to think that all of the Demigods had the same abilities as her.
2) Once their task was complete (in a way of speaking, regardless of if they died of natural causes, and accident or illness), the Demigods died. In that point, they were identical to the humans. Therefore, it wouldn't be wrong to consider them as [an special kind of humans that were bestowed special abilities by the Gods].
3) FLIP was a project during the First Era that was expected to have the same level of burden as HYMME-style Song Magics when the research on it advanced. However, due to the devastation of the world and other incidents, there was no possibility of sparing manpower to continue developing it, so if the research on Reyvteils could have been continued freely, and on FLIP as well, it most likely would have turned out to be the next generation of Song Magic. Presently, it doesn't have any practical applications because, naturally, it's the same thing as operating an [experimental furnace] as if it was a nuclear power plant.
I've always looked forward to this corner. Here are my questions for this issue:
1) This is something that has worried me since some time ago: Ar tonelico 2's opening shows us Metafalica through the image of creating a land, while Ar tonelico 3's gives the image of Planet Ar Ciel accepting the Heart of the Land and being regenerated after its conversation with Aoto and his party (the game's final battle), so, which would be the image conveyed by Ar tonelico 1's opening?
2) In the story about [Saki] and [Soutentei] (The Protectors of the Skies) written in the setting materials of the Hymmnos Concerts, it's said that Saki loved Soutentei as an older brother, while all of the Wills of Ar Ciel that appeared in the game were female, so from the humans' viewpoint, there are both female Wills (Goddesses) and male Wills (Gods)? (If that was a misprint, please ignore this question).
3) Both 1 and 2 displayed the cooking abilities that each of the Heroines had, but in 3 there weren't any systems for that (there weren't any events involving cooking), so in the end, the cooking abilities for these Heroines were left as a mystery (Tilia's abilities was barely showcased as great in her ending (privilege because of being a gal wife?), but I'd still like to know how their cooking abilities are from the setting standpoint (including Cocona's).
Thank you very much for paying attention to such a long contribution.
1) Speaking honestly, Ar tonelico 1's opening was the only one for which we didn't have anything like a [concept art]. During 1's development, we decided it would be best to cut off any anime-styled OPs, which is why its staff differs from that of 2 and 3. It may be redundant to say this, but the producer and supervisors for the anime parts differ between , and [2 and 3].
2) This was answered in a similar question posted above, but the Wills of the Planet don't have any genders, and they were merely passed down as either Gods or Goddesses in the legends depending on the form they assumed when they first descended to live among the humans.
3) Cocona is pretty good at cooking because she helped Croix all the time to make their meals. As for Finnel, if you ever listen to the [Ar tonelico 3 Drama CD Side Finnel], I think you'll be able of learning how skilled she's at cooking (pretty good, actually). As for Saki, she may feel as the oddest among them, since she doesn't care much about the flavor of food.
② 謳う丘～Ar=Ciel Ar=Dor～(曲の方)の前半にアル・シエラが使われているようなところがあるんですけど、その用法がEc Tisiaの方と随分違うのは何故でしょうか。
Thank you for answering all the questions over and over again.
1) Origin and Pureblooded β-type RTs may not need food to live, but if Origins (or βs) ever ate something, how that would be processed by their bodies?
2) Why the Ar Ciela used in the first half of Singing Hill ~Ar=Ciel Ar=Dor~ (the song) it's so different from the one used in Ec Tisia?
3) In the same song as the second question, what does mean [depart in the journey of Nayudara)? Is that other one of Ar Ciel's myths?
1) It'd be processed in the same way as in normal humans. However, they actually have a fake metabolism, since their bodies are unable of absorbing nutrients.
2) That isn't Ar Ciela, and it's actually the language structure we call Carmena Foreluna. These represent the humans talking to the Gods, and since it's a language made by imitating Ar Ciela, it's very different from it when it comes to words and representation.
3) Nayudara is used in that phrase as a metaphor for [faraway world]. Even in our world there is the word [nayuta (myriad)], which is used in numbers to refer to astronomical distances.
1) Cloche (Reika)'s birthday was obscured off in the game, so could you tell us in which day is falls (instead of in which moon waxing it does)?
2) About the Hymmnos language, as far as I can see in the Hymmnoserver, there are two Central Standard Note words for [save, rescue]: [swant] and [suwant], so which one would be correct?
Also, here I have a couple of requests...
・A lecture on the stroke order, or possibly tricks on how to write both Hymmnos and Ar Ciela glyphs.
・Give us some explanations about the special grammar rules of the New Testament of Pastalie, such as the ones used in Waterway ~ Mio (such as Azz, YEzz, or the Xc=xxx -> yyy syntax you explained in a previous issue).
・An update to the Hymmnoserver including all of the above...
In previous polls, there have been quite a lot of people interested in Hymmnos (myself included), so I'd like to understand of much of it as I can.
I know you're quite busy, so I'll be looking forward to an update, and cheering you on always.
1) We haven't fully decided it. The only thing we decided was her birth month: [Soumanomiya (October)].
2) The correct one is "swant". I'm very sorry for having added an erroneous entry.
By the way, as for the requests you made, the [Azz, YEzz, and the Xc=xxx -> yyy syntax from previous issues], you might be interested in checking the entries on "Negation" and "Function" here.
Aside of the above, I'm very sorry that the updates have been delayed so much. Please continue waiting a little more!
In 2's synthesis system, all of the supporting Heroines ended making different things from the same recipes.
1) Is an Heroine (Reyvateil) necessary to perform synthesis, or there's other method?
2) Did you have any ideas for letting Cocona, or any of the Heroines that couldn't take part in an specific synthesis store (such as Cloche in the restaurant) in the game proper, help in these synthesis?
3) If the answer to the previous question is "yes", why they didn't participate?
I decided to send this because I was wondering what Cocona would have created, given her style, if she had participated in these synthesis.
1) This falls under [Game Systems], and we set it so only the Heroines would be able to help in the synthesis process. After all, when we gave the [Heroine] spot to a character, we took special care to make them into realistic, living characters. That is the concept that permeates everything in the design of all the systems in the games of the series, and of course, synthesis is included among them.
As for 2 and 3, like I mentioned it in the reply to 1, it's because we didn't think beyond letting the Heroines participate.
Among the ways that Reyvateils have for strengthening their Song Magic, we have Installs (directly inserting Grathnodes in the Install Port) in the First Tower, Dualstalls (bathing) in the Second Tower, and Programming Hymmas gained from the Cosmospheres in the Third Tower, but would Reyvateils be able of using methods different from the one used at the Tower in which they are connected?
Since Hymmas seem to be a software (?) exclusive to the Third Tower Reyvateils, I was wondering if they could be used in the First and Second Towers.
The Grathnode Crystal Install method and the Wave Payload Osmosis method from the Dualithnode Crystals can be used by any Reyvateil, no matter to which Tower they are connected. As for the strengthening through Hymmas, while from a game system standpoint it was added to the game in a way similar to Installs and such, from the setting standpoint it's the Third Tower version of the [Song Magic characters created from the fantasies of the Heroines] we presented in Ar tonelico 1 and 2. In other words, the Hymma System is exclusive to the Third Tower.
Thank you for all your hard work.
I immediately listened to the Hymmnos Musical, and the performance in it let me quite satisfied, like the one in the prevous two. Thank your for the experience.
Well, it might be a little early, but I have a few questions about the events in it:
1) While during the Musical Cocona was shocked at Shukure's singing speed (I had to listen again as well, since I thought I was hearing her singing New Testament of Pastalie), actually that speed would allow her to overwhelm the Vanguards with only her Songs?
At least Cocona seemed to be overwhelmed at that moment, and I'm not sure if any other soldies would stand a chance against her.
2) When Shukure gained wings near the end of the Musical, that was just because of the effects of [EXEC_FLIP_METAMORPHOSE/.], or was it some power that Shukure had hidden and was activated when she began singing [METAMORPHOSE]?
Granted, when I think about it, Akane had Kukuro as well, and I was wondering if Shukure was given an experiment related to the Antibodies too...
3) This is more of a request than a question, but since the previous Musicals had explanations for their songs, I was somewhat disappointed to see that this didn't have any. Since the Vocal Best will be released at this year's end, maybe it'd be a good chance to give us the explanations somewhere.
PS: It may be a little late, but I've finally received the signed colored paper from the CD Enquete Campaign. Thank you very much. I'll make sure to treat it as a family heirloom.
(Chicken Rascal's Bang-Bang Chicken)
1) It's unmistakable that Cocona has quite a physical strength and speed. While Song Magic's greatest weakness is the long time it requires to be sung, Shukure's technique is to begin by immediately summon a weak shockwave to make the opponents flinch, and then begin assaulting them with progressively stronger attacks, which will allow her to finally sing a much stronger Song Magic, which is what has allowed her to win all her battles. That's why she hates leaving spaces between attacks.
2) That's only because of the effects of [EXEC_FLIP_METAMORPHOSE/.]. She couldn't even stand up after she finished singing it, due to how greatly draining the FLIP songs are to both body and mind.
3) If we ever have the chance, we'll make sure to add them.
Congratulations on the release of Hymmnos Musical Cocona.
I had all sorts of strong feelings just from hearing the songs that were included in it.
However, I have a question about something I don't understand from it:
The very first word that Cocona's song has is [:/Awe_nudo_la!/:], which I guess in Hymmnos would be the IPD equivalent of the emotion definer, and would it be translated as [These strong feelings will never falter] as a way of showing Cocona's intention? (I've never read about something similar to this, somehow that's the feeling I gave me, although it's no more than a theory).
While it could be an emotional rhyme to make all of the verses of the song rhyme, somehow I have the feelings that the root of it is presenting [Cocona's feelings as she sings].
If by any chance it was explained in the Settei Books... that means that my study hasn't been enough...
I have some questions about EXEC_HIBERNATION/.
Would it be possible for any other singer besides Frelia to perform the spirit transmigration?
And in that case, what would happen to the people if the song or transmigration wasn't completed?
Would it have any effect on the IPDs that are outside of the Tower's range?
To begin with, Frelia's mind wasn't transmigrated due to Hibernation. You seem to have a few confusions about it, but we'll take care of them now: Hibernation's effects are [deleting the minds of the IPDs] and [storing the souls of the people inside Infel Phira].
Therefore, if we interpret the [transmigration] from your question as [deletion], this of course would cause great anxiety to any IPD that sung it due to having her mind stored in Infel Phira. However, Hibernation can't be sung by IPDs due to its nature, which naturally eliminates that possibility.
Also, any IPD that goes beyond the range of the Tower will leave Infel Phira's singing range as well, turning her into a normal human.
1) In 3's ending, there's a scene in which Arru is singing, but does this mean that she could freely cancel the fusion that existed between her and Tilia?
2) In Finnel's True Ending, we can see Aoto and Finnel playing at the sea, but at this time no living creatures haven't been born again in the sea? Also, wouldn't the ecosystem become something completely different from how it was back in the First Era and before?
The weather has suddenly gotten wintery and the temperature has gone down as well, so please make sure to not catch a cold!
1) At the time in which she appears singing in the endings, Arru has already separated herself from Tilia. She had decided to return to her role of being a Will of the Planet.
2) There are a few at the moment, but we can't say that the sea is abundant with life at the moment, and it's quite possible that its ecosystem changes from how it was in the First Era. Since the Wills of the Planet are already more experienced now with the kinds of life they can create, is quite possible that the ecosystems and lifeforms that will be born from now on will somehow be more wonderful and mysterious than the ones that existed previously.